{"id":3371,"date":"2023-04-12T13:02:55","date_gmt":"2023-04-12T11:02:55","guid":{"rendered":"https:\/\/edituracrimca.ro\/triduum-ul-pascal-zugravit-in-pictura-murala-a-manastirii-humor-partea-intai-altarul\/"},"modified":"2023-04-12T13:02:55","modified_gmt":"2023-04-12T11:02:55","slug":"triduum-ul-pascal-zugravit-in-pictura-murala-a-manastirii-humor-partea-intai-altarul","status":"publish","type":"post","link":"https:\/\/edituracrimca.ro\/en\/triduum-ul-pascal-zugravit-in-pictura-murala-a-manastirii-humor-partea-intai-altarul\/","title":{"rendered":"Triduum-ul Pascal zugr\u0103vit \u00een pictura mural\u0103 a M\u0103n\u0103stirii Humor. Partea \u00eent\u00e2i \u2013 Altarul"},"content":{"rendered":"

M\u0103n\u0103stirea Humor a fost zidit\u0103 \u0219i \u201e\u00eenchinat\u0103 Adormirii Sfintei Fecioare Maria Maica Domnului pe cheltuiala \u0219i cu osteneala robului lui Dumnezeu Jup\u00e2n Toader marele logof\u0103t \u0219i ale so\u021biei lui Anastasia \u00een anul 7038 (1530) la 15 august, fiind preot Cuviosul Paisie\u201d[1]<\/a>. Biserica este o expresie a stilului moldovenesc cristalizat \u00een perioada lui \u0218tefan cel Mare.  Ea este lipsit\u0103 de turl\u0103 \u0219i, cu toate c\u0103 nu este o ctitorie Domneasc\u0103 are o gropni\u021b\u0103 \u00eentre naos \u0219i pronaos. Este primul edificiu din Moldova care are pridvor deschis ce face trecerea subtil\u0103 de la exterior spre interior de la profan la sacru.<\/p>\n

Cuviosul Paisie a \u00eempodobit noua biseric\u0103 cu fresc\u0103 \u201eat\u00e2t pe din\u0103untru c\u00e2t \u0219i pe dinafar\u0103\u201d[2]<\/a> apel\u00e2nd la zugravul Toma din Suceava care \u00eempreun\u0103 cu o echip\u0103 de pictori au \u00eempodobit biserica cu o pictur\u0103 de mare valoare duhovniceasc\u0103 \u0219i iconografic\u0103, ultima parte a S\u0103pt\u0103m\u00e2nii Mari g\u0103sind un ecou profund \u00e2n inima zugravului, fapt care se reflect\u0103 \u00een programul iconografic.<\/p>\n

S\u0103pt\u0103m\u00e2na P\u0103timirilor, care \u00eencununeaaz\u0103 postul celor 40 de zile este o perioad\u0103 de intensificare a eforturilor noastre duhovnice\u0219ti, a rug\u0103ciunii, ascezei, a medita\u021biei la p\u0103timirile M\u00e2ntuitorului nostru Iisus Hristos dar \u0219i la faptele petrecute acum \u0219i la \u00eenv\u0103\u021b\u0103turile sale pe care ni le las\u0103 \u00een aceast\u0103 ultim\u0103 perioad\u0103 a vie\u021bii Sale.<\/p>\n

S\u0103pt\u0103m\u00e2na Mare este structurat\u0103 sub forma unui diptic alc\u0103tuit din dou\u0103 triduum-uri: Triduum-ul Mirelui care cuprinde primele trei zile (Lunea Mare, Mar\u021bea Mare \u0219i Miercurea Mare) \u0219i Triduum-ul Pascal al Mielului care Se aduce pe Sine ca jertf\u0103 \u0219i care cuprinde urm\u0103toarele trei zile (Joia Mare, Vinerea Mare \u0219i S\u00e2mb\u0103ta Mare)[3]<\/a>.<\/p>\n

Punctul culminant al lucr\u0103rii de m\u00e2ntuire a omului este  reprezentat de ultimele zile p\u0103m\u00e2nte\u0219ti ale M\u00e2ntuitorului \u0219i anume de Sfintele \u0219i M\u00e2ntuitoarele Sale P\u0103timiri, celebrate liturgic \u00een S\u0103pt\u0103m\u00e2na Patimilor.<\/p>\n

P\u0103timirile lui Hristos ca expresie a iubirii f\u0103r\u0103 margini,  a iubirii mai tari dec\u00e2t moartea pe care Dumnezeu o poart\u0103 omului,  care \u00eenc\u0103 din Rai a r\u0103nit aceast\u0103 iubire, ocup\u0103 un loc important \u0219i de maxim\u0103 intensitate \u0219i tr\u0103ire duhovniceasc\u0103 \u00een timpul liturgic, \u00een imnografie dar \u0219i \u00een reprezentarea iconografic\u0103.<\/p>\n

Programul iconografic al M\u0103n\u0103stirii Humor rezerv\u0103 acestei sfinte \u0219i mari s\u0103pt\u0103m\u00e2ni a p\u0103timirilor M\u00e2ntuitorului Iisus Hristos un spa\u021biu generos \u00eencep\u00e2nd din altar  \u0219i continu\u00e2nd \u00een naos prin reprezentarea iconografic\u0103 \u00een friz\u0103 a ultimelor zile p\u0103m\u00e2nte\u0219ti ale M\u00e2ntuitorului.  Importan\u021ba pe care zugravul Toma o arat\u0103 p\u0103timirilor M\u00e2ntuitorului arat\u0103 de fapt \u201edispozi\u021bia ascetic\u0103 care st\u0103p\u00e2nea sufletele c\u0103lug\u0103rilor bisericii ortodoxe\u201d[4]<\/a>, pentru c\u0103 a\u0219a cum ne \u00eenva\u021b\u0103 Sf\u00e2ntul Ioan sc\u0103rarul \u00een aceast\u0103 perioad\u0103 a postului mare \u0219i cu at\u00e2t mai mult \u00een s\u0103pt\u0103m\u00e2na Sfintelor P\u0103timiri,  credinciosul este chemat s\u0103 duc\u0103 o via\u021b\u0103 de c\u0103lug\u0103r \u00een timp ce c\u0103lug\u0103rul are chemarea de a duce o via\u021b\u0103 \u00eengereasc\u0103.<\/p>\n

Altarului \u00eei sunt rezervate patru scene a\u0219ezate \u00een registrul median, \u00eentre minunata reprezentare a Maicii Domnului cu Pruncul \u00een bra\u021be, \u00eencadrat\u0103 de patru \u00eengeri de pe bolta absidei mari \u0219i un \u0219ir de 12 ierarhi av\u00e2ndu-i \u00een frunte pe cei Trei Mari ierarhi Vasile cel Mare Grigorie Teologul \u0219i Ioan Gur\u0103 de Aur. A\u0219adar avem aici reprezentate patru scene \u0219i anume: Sp\u0103larea picioarelor, \u00cemp\u0103rt\u0103\u0219irea apostolilor cu Sf\u00e2ntul Trup \u0219i apoi \u00eemp\u0103rt\u0103\u0219irea Apostolilor cu Sf\u00e2ntul S\u00e2nge[5]<\/a> iar \u00een a patra scen\u0103 avem reprezentat\u0103 Cina cea de Tain\u0103.<\/p>\n

\u00cen ceea ce prive\u0219te naosul, reprezentarea \u00een friz\u0103 contin\u0103 a P\u0103timirilor M\u00e2ntuitorului \u00eencepe de pe peretele de miaz\u0103zi de l\u00e2ng\u0103 iconostas, continu\u00e2nd pe peretele de la apus \u0219i sf\u00e2r\u0219ind tot l\u00e2ng\u0103 iconostas, pe peretele de miaz\u0103noapte. Se \u00eencepe cu Rug\u0103ciunea cea mai presus de fire din gr\u0103dina Ghetsimani (\u00een dou\u0103 episoade) \u0219i continu\u0103 cu  \u00cent\u00e2lnirea dintre Hristos \u0219i solda\u021bii veni\u021bi s\u0103-L prind\u0103, S\u0103rutarea lui Iuda \u0219i prinderea lui Iisus,  Petru taie urechea lui Malchus, Lep\u0103darea lui Petru,  pe peretele vestic \u2013 Iisus la Ana \u0219i Caiafa, Iisus \u00eenaintea lui Pilat,  Scena batjocoririi lui Iisus, Iuda prime\u0219te argin\u021bii tr\u0103d\u0103rii, Sp\u00e2nzurarea lui Iuda, pe peretele nordic \u2013  Drumul spre Golgota, Suirea pe Cruce,  \u00cemp\u0103r\u021birea hainelor M\u00e2ntuitorului,  Cobor\u00e2rea de pe Cruce,  Pl\u00e2ngerea l\u00e2ng\u0103 trupul lui Hristos, Morm\u00e2ntul lui Iisus sigilat \u0219i pazit de osta\u0219i,  Cobor\u00e2rea la iad.  Pe l\u00e2ng\u0103 aceast\u0103 reprezentare \u00een friz\u0103 a p\u0103timirilor, pictorul folose\u0219te bolta absidiei de miaz\u0103noapte pentru a reprezenta scena R\u0103stignirii.<\/p>\n

\u00cen cele ce urmeaz\u0103 vom vorbi mai \u00eent\u00e2i despre reprezentarea iconografic\u0103 din altar urm\u00e2nd ca \u00een partea a doua s\u0103 prezent\u0103m p\u0103timirile M\u00e2ntuitorului zugr\u0103vite \u00een naosul bisericii.<\/p>\n

I. Altarul<\/p>\n

\u00cen absida altarului, sub bolta unde este a\u0219ezat\u0103 Maica Domnului – \u201ePanaghia Orans\u201d sunt reprezentate patru scene petrecute \u00een Sf\u00e2nta \u0219i Marea Joi.  Avem aici reprezentate de la st\u00e2nga spre dreapta: sp\u0103larea picioarelor apostolilor, \u00eemp\u0103rt\u0103\u0219irea Sfin\u021bilor apostoli cu Sf\u00e2ntul Trup, \u00eemp\u0103rt\u0103\u0219irea Sfin\u021bilor apostoli cu Sf\u00e2ntul S\u00e2nge \u0219i Cina cea de Tain\u0103.<\/p>\n

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  1. Sp\u0103larea picioarelor apostolilor<\/i><\/li>\n<\/ol>\n

    Reprezentarea acestei scene urmeaz\u0103 cuvintele Evangheliei de la Ioan 13,4-9, care \u0219i-a g\u0103sit un loc \u0219i \u00een slujirea liturgic\u0103 a Bisericii, av\u00e2nd \u00eenscris\u0103 \u00een cartea Triodului r\u00e2nduiala Sp\u0103l\u0103rii picioarelor[6]<\/sup><\/a>. Acest ritual este cunoscut \u00een biseric\u0103 \u00eenc\u0103 din secolele IV \u2013 V fiind men\u021bionat \u00een Lec\u021bionarul georgian dar \u0219i alte tipika \u00een Ierusalim \u0219i Constantinopol[7]<\/sup><\/a>. Aceasta se s\u0103v\u00e2r\u0219e\u0219te conform tipicului \u00eenainte de Vecernia Joii celei Mari \u0219i anume cel mai mare \u00eencins cu un \u0219tergar imit\u0103 gestul M\u00e2ntuitorului \u00een care se arat\u0103 c\u0103 cel care vrea s\u0103 fie cel dint\u00e2i trebuie s\u0103 fie slujitorul tuturor (In 13, 15, Mt 20, 26).<\/p>\n

    Gestul sp\u0103l\u0103rii picioarelor apostolilor arat\u0103 ad\u00e2nca smerenie a Celui care este nu doar Om adev\u0103rat ci \u0219i Dumnezeu adev\u0103rat. \u00cel vedem pe Hristos dezbr\u0103cat de dumnezeire,  f\u0103c\u00e2ndu-se slujitor al tuturor \u0219i lu\u00e2nd chip de rob, smerindu-Se pe Sine (Filip 2, 7-8) pentru ca pe noi s\u0103 ne \u00eenal\u021be: \u201eCel ce a f\u0103cut lacurile, izvoarele \u0219i m\u0103rile, \u00eenv\u0103\u021b\u00e2ndu-ne pe noi smerenia cea bun\u0103, s-a \u00eencins cu un \u0219tergar \u0219i a sp\u0103lat picioarele ucenicilor, smerindu-Se din prisosin\u021ba milostivirii \u0219i \u00een\u0103l\u021b\u00e2ndu-ne pe noi din ad\u00e2ncurile r\u0103ut\u0103\u021bii, Unul Iubitorul de oameni\u201d[8]<\/a>.<\/p>\n

    Scena Sp\u0103l\u0103rii picioarelor cu elementele iconografice fundamentale apar de prin secolele X – XI \u0219i se dezvolt\u0103 \u00een secolele al XVI – lea \u0219i al XVII – lea. De regul\u0103 aceast\u0103 scen\u0103 este a\u0219ezat\u0103 \u00een absida altarului. Pe fundalul unei arhitecturi \u00eel vedem \u00een partea dreapt\u0103 pe M\u00e2ntuitorul \u00eembr\u0103cat \u00eentr-o hain\u0103 ro\u0219ie \u0219i \u00eencins la mijloc cu un \u0219tergar.  El este a\u0219ezat pe un postament \u0219i prive\u0219te spre apostoli cu m\u00e2na st\u00e2ng\u0103 \u00eentins\u0103 spre ei \u0219i cu dreapta binecuv\u00e2nt\u00e2ndu-i.  \u00cen partea st\u00e2ng\u0103 \u00eei vedeam pe cei 12 apostoli reprezenta\u021bi f\u0103r\u0103 aureole care privesc \u0219i ei spre M\u00e2ntuitorul \u0219i au m\u00e2inile \u00eentinse spre el ar\u0103t\u00e2nd \u00een felul acesta aten\u021bia pe care I-o acord\u0103.  Doar unul dintre apostoli – Sf\u00e2ntul Andrei este \u00eentors spre un alt participant la ritual p\u0103r\u00e2nd a spune ceva.  Apostolii sunt \u00eenc\u0103l\u021ba\u021bi cu sandale, unul dintre ei, Ioan, este reprezentat desc\u0103l\u021b\u00e2ndu-se \u00een vederea sp\u0103l\u0103rii picioarelor de c\u0103tre M\u00e2ntuitorul.  Sf\u00e2ntul Apostol Petru a\u0219ezat pe un scaun are piciorul st\u00e2ng introdus \u00een vasul cu ap\u0103, preg\u0103tit pentru sp\u0103lare, \u00eens\u0103 cu m\u00e2na st\u00e2ng\u0103 arat\u0103 spre cap, ca expresie a cuv\u00e2ntului s\u0103u \u00een care \u00eei cere M\u00e2ntuitorului s\u0103-i spele \u201enu numai picioarele, ci \u0219i m\u00e2inile \u0219i capul” (Ioan 13,9).<\/p>\n

    A\u0219adar pare a se \u00een\u021belege de aici, dar \u00eentr-un mod mult mai explicit \u0219i \u00een c\u00e2nt\u0103rile care \u00eempodobesc slujbele acestei zile: nu doar trupul trebuie cur\u0103\u021bit de \u00eentin\u0103ciune prin sp\u0103lare ci \u0219i mintea \u0219i g\u00e2ndul \u0219i sufletul omului pentru a le sfin\u021bi \u0219i a deveni loca\u0219 dumnezeirii: \u201eCel ce Te-ai \u00eencins cu \u0219tergarul, \u0219i ai sp\u0103lat picioarele ucenicilor, Hristoase Dumnezeule, spal\u0103 g\u00e2ndul sufletului nostru, \u0219i ne \u00eencinge pe noi cu leg\u0103tur\u0103 duhovniceasc\u0103, spre a face poruncile Tale \u0219i a c\u00e2nta bun\u0103tatea Ta\u201d[9]<\/a>. Iar cine va dob\u00e2ndi aceast\u0103 cura\u021bie l\u0103untric\u0103 prin propriul efort ascetic si duhovnicesc \u0219i dublat de harul dumnezeiesc de mari daruri se va \u00eenvrednici de la \u00censu\u0219i Izvorul  a \u201etoat\u0103 darea cea bun\u0103 \u0219i tot darul de sus\u201d[10]<\/a>: \u201ePetru se sfia s\u0103 i se spele picioarele de preacuratele m\u00e2ini, de care a fost zidit Adam; dar a auzit: de nu te voi sp\u0103la pe tine, nu ai parte de Mine … O, mari darurile St\u0103p\u00e2nului!, c\u0103 f\u0103g\u0103duie\u0219te a face p\u0103rta\u0219i harului S\u0103u pe ucenici, \u0219i a avea parte cu d\u00e2n\u0219ii in slava cea negr\u0103it\u0103; precum \u0219i la paharul cel de tain\u0103 a zis: c\u0103-l va bea pe acela nou \u00eempreun\u0103 cu d\u00e2n\u0219ii, \u00een \u00cemp\u0103r\u0103\u021bia cerurilor. De care \u00eenvrednice\u0219te-ne \u0219i pe noi, c\u0103 un milostiv \u0219i de oameni iubitor\u201d[11]<\/a>.<\/p>\n

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    1. \u00cemp\u0103rt\u0103\u0219irea Apostolilor cu Sf\u00e2ntul Trup \u0219i S\u00e2nge<\/i><\/li>\n<\/ol>\n

      \u00cemp\u0103rt\u0103\u0219irea Apostolilor este o tem\u0103 esen\u021bial\u0103 de decor a absidei principale \u00een bisericile moldovene\u0219ti din secolele XVI \u0219i XVII.  Una dintre cele mai vechi reprezent\u0103ri ale acestei scene o g\u0103sim pe o broderie din 1481, aflat\u0103 la m\u0103n\u0103stirea Putna[12]<\/a>. Aceast\u0103 scen\u0103 se \u00eentemeiaz\u0103 pe textul evanghelic care evoc\u0103 momentul s\u0103v\u00e2r\u0219irii tainei Sfintei Euharistii \u0219i \u00eemp\u0103rt\u0103\u0219irea Apostolilor cu Cinstitul Trup \u0219i cu Scump S\u00e2ngele M\u00e2ntuitorului nostru Iisus Hristos la Cina cea de Tain\u0103 (Mt 22, 13-20, Mc 14, 22-24, Lc 26, 26-28).  Reprezentarea apare ca o expresie a practicilor liturgice a Bisericii R\u0103s\u0103ritene, unde la \u00eemp\u0103rt\u0103\u0219irea clericilor[13]<\/a> \u0219i \u00een trecut a \u00eentregii Biserici[14]<\/a>, ace\u0219tia primesc \u00een palm\u0103, de la Episcop, mai \u00eent\u00e2i Trupul lui Hristos dup\u0103 care primesc \u0219i S\u00e2ngele lui Hristos sorbind din Sf\u00e2ntul Potir.<\/p>\n

      \u00cen prima scen\u0103 a \u00eemp\u0103rt\u0103\u0219irii apostolilor cu Sf\u00e2ntul Trup \u00eel vedem \u00een partea dreapt\u0103 pe M\u00e2ntuitorul Iisus Hristos care poart\u0103 omoforul ar\u0103t\u00e2nd \u00een felul acesta c\u0103 el este Arhiereul cel Ve\u0219nic, Cel ce aduce \u0219i Cel ce Se aduce, Cel ce prime\u0219te \u0219i Cel ce Se \u00eemparte[15]<\/a>.  \u00cen spatele S\u0103u se afl\u0103 un \u00eenger care \u00eei sluje\u0219te folosindu-se de o ripid\u0103[16]<\/a>.  Pe Sf\u00e2nta Mas\u0103 a\u0219ezat\u0103 sub un baldachin (doar \u00een scena \u00eemp\u0103rt\u0103\u0219irii cu Sf\u00e2ntul Trup) se afl\u0103 Sf\u00e2ntul Disc cu Trupul lui Hristos, un Potir \u00een care se afl\u0103 o linguri\u021b\u0103 \u0219i Sf\u00e2nta Evanghelie. Fa\u021ba de mas\u0103 de culoare ro\u0219ie cu falduri este \u00eempodobit\u0103 cu semnul Sfintei Cruci. Cu m\u00e2na st\u00e2ng\u0103 M\u00e2ntuitorul ia Sfantul Trup de pe Disc \u00een timp ce cu m\u00e2na dreapt\u0103 ofer\u0103 Apostolilor Dumnezeiescul Trup. Spre deosebire de reprezent\u0103rile tradi\u021bionale unde apostolii se succed unul dup\u0103 altul ca \u00eentr-o procesiune (Vorone\u021b, Curtea de Arge\u0219), aici ei formeaz\u0103  un grup compact, cu gesturi dinamice \u0219i variate sugerate de pozi\u021bia m\u00e2inilor dar \u0219i de larga mi\u0219care a faldurilor. Apostolii \u00een num\u0103r de 12 privesc spre M\u00e2ntuitorul Iisus Hristos cu excep\u021bia unuia care este \u00eentors spre ceilal\u021bi participan\u021bi \u0219i cu to\u021bii sunt apleca\u021bi \u00eenspre M\u00e2ntuitorul ar\u0103t\u00e2nd fiorul \u00eemp\u0103rt\u0103\u0219irii cu Dumnezeie\u0219tile Taine. Un fapt interesant la Humor este acela c\u0103 Sf\u00e2ntul Apostol Andrei este Cel care prime\u0219te Trupul lui Hristos din m\u00e2na Acestuia ar\u0103t\u00e2nd – probabil – pe de o parte c\u0103 el a fost cel ce i-a dus p\u00e2inile M\u00e2ntuitorului la minunea \u00eenmul\u021birii p\u00e2inilor \u0219i pe\u0219tilor (In 6, 8-9) ca o pre\u00eenchipuire a Euharistiei iar pe de alt\u0103 parte anticip\u00e2nd cu aproape cinci veacuri \u00eenainte rolul important al Sf\u00e2ntului Apostol Andrei \u00een dob\u00e2ndirea con\u0219tiin\u021bei de popor drept m\u0103ritor al neamului nostru, scoas\u0103 \u00een eviden\u021b\u0103 mai ales la sf\u00e2r\u0219itul secolului trecut cand biserica l-a numit ocrotitorul Rom\u00e2niei.<\/p>\n

      \n

      \u00cen urm\u0103toarea scen\u0103 a \u00eemp\u0103rt\u0103\u0219irii Sfin\u021bilor apostoli cu Cinstitul S\u00e2nge al M\u00e2ntuitorului Iisus Hristos \u00eel vedem pe Acesta purt\u00e2nd acela\u0219i omofor \u0219i \u021bin\u00e2nd Potirul cu ambele m\u00e2ini. El este asistat de un \u00eenger care fere\u0219te o perdea din spatele c\u0103reia prive\u0219te \u00eenfrico\u0219at un serafim. Pe Sf\u00e2nta Mas\u0103, cu o fa\u021b\u0103 de mas\u0103 bogat\u0103 ornamentat\u0103 se afl\u0103 doar Sf\u00e2nta Evanghelie. Sfin\u021bii Apostoli \u00een num\u0103r de 12, f\u0103r\u0103 aureole se apropie \u201ecu fric\u0103 de Dumnezeu cu credin\u021b\u0103 \u0218i cu dragoste”[17]<\/a>, ar\u0103t\u00e2nd importan\u021ba momentului prin plecarea capului \u0219i a trupului \u00een fa\u021b\u0103, c\u0103tre M\u00e2ntuitorul. Cel care prime\u0219te S\u00e2ngele cel Scump din m\u00e2na M\u00e2ntuitorului este Sf\u00e2ntul Apostol Pavel care apare \u0219i \u00een alte reprezent\u0103ri iconografice bizantine precum Judecata de Apoi, \u00cen\u0103l\u021barea M\u00e2ntuitorului la cer \u0219i Pogor\u00e2rea Duhului Sf\u00e2nt, de\u0219i Apostolul Pavel se converte\u0219te dup\u0103 aceste dou\u0103 ultime evenimente, reprezentand o abatere de la descrierea istoric\u0103 a evenimentului[18]<\/a>. Doar un singur apostol \u2013 r\u0103mas \u00een urm\u0103 prive\u0219te \u00een cealalt\u0103 parte iar faptul c\u0103 \u00een m\u00e2na ridicat\u0103 \u021bine o pung\u0103 cu bani tr\u0103deaz\u0103 faptul c\u0103 el este Iuda.<\/p>\n

        \n
      1. Cina cea de tain\u0103<\/i><\/li>\n<\/ol>\n

        Reprezentarea Cinei celei de Tain\u0103 este de obicei a\u0219ezat\u0103 \u00een absida altarului \u00eempreun\u0103 cu scena \u00cemp\u0103rt\u0103\u0219irii Apostolilor. Felul \u00een care este reprezentat\u0103 pare a pune \u00een eviden\u021b\u0103 \u00een mod special momentul descoperirii tr\u0103d\u0103rii lui Iuda \u00een defavoarea instituirii tainei Sfintei Euharistii, a\u0219a cum s-ar crede la o prim\u0103 vedere. Acest lucru se desprinde chiar din textele liturgice ale slujbei din Joia Mare care accentueaz\u0103 tr\u0103darea lui Iuda[19]<\/a>. La aceasta se adaug\u0103 \u0219i Evanghelia Sf\u00e2ntului Ioan care nu vorbe\u0219te despre momentul instituirii Sfintei Euharistii \u00eens\u0103 \u00een momentul Sp\u0103l\u0103rii picioarelor apostolilor anun\u021b\u0103 prin gura lui Hristos tr\u0103darea lui Iuda care va avea loc \u00een timpul acestei Cine de Tain\u0103. Aceasta se va descoperi c\u00e2nd  Hristos va \u00eentinde bucata de p\u00e2ine tr\u0103d\u0103torului (In 13,26). Aceste cuvinte sunt dezvoltate \u00een imnografia acestei zile[20]<\/a> astfel \u00eenc\u00e2t ele \u0219i-au g\u0103sit un ecou \u0219i \u00een aten\u021bia pictorului.<\/p>\n

        \u00cen reprezentarea de la Humor, M\u00e2ntuitorul Iisus Hristos este a\u0219ezat \u00een partea dreapt\u0103 a mesei \u00een form\u0103 de potcoav\u0103 (\u00een partea st\u00e2ng\u0103 a mesei din perspectiva privitorului) – \u00een cornu dextro<\/em> care reprezint\u0103 locul cel de cinste.  El este singurul reprezentat cu aureol\u0103;  \u0219ade pe un tron \u0219i picioarele sunt a\u0219ezate pe un postament. At\u00e2t tronul c\u00e2t \u0219i postamentul sunt ridicate de la p\u0103m\u00e2nt ar\u0103t\u00e2nd \u00een felul acesta c\u0103 nu este cu nimic legat de p\u0103m\u00e2nt \u0219i ceea ce El ne ofer\u0103 –  Trupul \u0219i S\u00e2ngele S\u0103u \u00eel desprind pe om de la p\u0103m\u00e2nt, \u00eenlesnindu-i urcarea c\u0103tre \u00cemp\u0103r\u0103\u021bia iubirii Preasfintei Treimi.<\/p>\n

        Cei doisprezece apostoli sunt a\u0219eza\u021bi la mas\u0103 \u00een semicerc, \u00een cel\u0103lalt cap\u0103t al mesei afl\u00e2ndu-se Apostolul Petru verhovnicul a\u0219ezat \u0219i el pe un scaun \u0219i cu un postament sub picioare. Ei au figuri grave, unii dintre ei \u021bin\u00e2nd palmele \u00een mod defensiv (Mt 26, 22: „\u0218i ei, \u00eentrist\u00e2ndu-se foarte, au \u00eenceput s\u0103-I zic\u0103 fiecare: nu cumva eu sunt, Doamne?”), confirm\u00e2nd \u00een felul acesta c\u0103 reprezentarea iconografic\u0103 vorbe\u0219te \u00een special despre tr\u0103darea lui Iuda.<\/p>\n

        Dintre apostoli se remarc\u0103 Sf\u00e2ntul Evanghelist Ioan, cel care \u0219i-a rezemat capul pe pieptul lui Iisus, reprezentat aici \u00eentr un gest de ad\u00e2nc\u0103 tandre\u021be: el \u021bine \u00een m\u00e2inile sale m\u00e2inile M\u00e2ntuitorului de care se atinge cu fa\u021ba sa, ar\u0103t\u00e2nd \u00een felul acesta dragostea pe care i-o poart\u0103 \u0219i pe care i-o va ar\u0103ta pe Golgota, fiind singurul dintre apostoli prezent la picioarele Crucii lui Iisus.<\/p>\n

        \u00cen antitez\u0103 cu Ioan este reprezentat Iuda care se \u00eentinde \u00eentr-o pozi\u021bie nefireasc\u0103 peste mas\u0103 pentru a putea \u00eentinge m\u00e2na \u00een blid (Mt 26,23). Reprezentarea arat\u0103 vicle\u0219ugul cu care Iuda se apropie de masa st\u0103p\u00e2nului, ar\u0103t\u00e2ndu se nerecunosc\u0103tor pentru darurile primite de la Hristos: \u201enimeni s\u0103 nu fie nerecunosc\u0103tor de cina St\u0103p\u00e2nului, o, credincio\u0219ilor! Nimeni s\u0103 nu vin\u0103 acum la mas\u0103 cu vicle\u0219ug, ca Iuda. C\u0103 acela primind p\u00e2inea, s-a lipsit de p\u00e2inea vie\u021bii, fiind numai chip de ucenic, iar cu fa\u021ba ucig\u0103tor; de fa\u021b\u0103 cu iudeii veselindu-se, \u0219i cu Apostolii \u00eempreun\u0103 petrec\u00e2nd. Ur\u00e2nd s\u0103ruta \u0219i s\u0103rut\u00e2nd vindea pe Cel ce ne-a r\u0103scump\u0103rat pe noi din blestem, pe Dumnezeu \u0219i M\u00e2ntuitorul sufletelor noastre”[21]<\/a>.  Iubirea de argin\u021bi, arghirofilia \u00eei st\u0103p\u00e2ne\u0219te sufletul \u0219i este ar\u0103tat\u0103 \u00een imnografie drept cauz\u0103 a v\u00e2nz\u0103rii lui Hristos,  iar faptul c\u0103 se apropie cu vicle\u0219ug de Trupul \u0219i S\u00e2ngele lui Hristos \u00eel a\u0219eaz\u0103 sub st\u0103p\u00e2nirea diavolului[22]<\/a> care va pune \u00een inima lui g\u00e2ndul v\u00e2nz\u0103rii lui Hristos (In 13,2) iar mai apoi dezn\u0103dejdea care \u00eel va \u00eempinge spre sinucidere.<\/p>\n

        De aceea suntem chema\u021bi s\u0103 ne apropiem \u201ecu inim\u0103 curat\u0103, cu g\u00e2nd \u00eenfrico\u0219at \u0219i cu suflet smerit\u201d[23]<\/a> de \u201eosp\u0103\u021bul St\u0103p\u00e2nului\u201d\u0219i de \u201emasa cea nemuritoare\u201d[24]<\/a>, unde primim adev\u0103rata M\u00e2ncare \u0219i B\u0103utur\u0103 cu care Hristos hr\u0103ne\u0219te lumea. Astfel primim Dumnezei\u0219tile Taine  \u201espre luminarea sim\u021burilor celor suflete\u0219ti\u201d, \u201espre sfin\u021bire, spre luminare, spre t\u0103rie, spre vindecare \u0219i spre s\u0103n\u0103tatea sufletului \u0219i a trupului \u0219i spre \u0219tergerea \u0219i pierderea cu totul a cugetelor, a amintirilor \u0219i a deprinderilor mele cele rele\u201d, \u201espre cur\u0103\u021birea \u0219i sfin\u021birea sufletelor \u0219i a trupurilor \u0219i spre arvunirea vie\u021bii \u0219i a \u00eemp\u0103r\u0103\u021biei ceva s\u0103 vie\u201d, \u201eca merinde pentru via\u021ba de veci \u0219i spre r\u0103spuns bine primit la \u00eenfrico\u0219\u0103torul T\u0103u scaun de judecat\u0103\u201d[25]<\/a>.<\/p>\n

        De aici ne mut\u0103m \u00een naos, unde vom c\u0103l\u0103tori \u00eempreun\u0103 cu Hristos, \u00eenso\u021bindu-L \u00een aceste cumplite dar \u00een acela\u0219i timp uimitoare zile care arat\u0103 r\u0103utatea \u0219i nerecuno\u0219tin\u021ba omului pe de o parte \u0219i iubirea dus\u0103 p\u00e2n\u0103 la cap\u0103t, mai tare dec\u00e2t moartea a M\u00e2ntuitorului.<\/p>\n

        Pr. Felician Vasile Buzil\u0103<\/h6>\n

        \n

        Bibliografie<\/p>\n

        \n

        ***, Biblia<\/em> sau Sf\u00e2nta Scriptur\u0103<\/em>, Editura Institutului Biblic \u0219i de Misiune Ortodox\u0103, Bucure\u0219ti, 2019;<\/p>\n

        ***, Liturghier<\/em>, Editura Institutului Biblic \u0219i de Misiune Ortodox\u0103, Bucure\u0219ti, 2012;<\/p>\n

        ***, Triodul<\/em>, Editura Institutului Biblic \u0219i de Misiune Ortodox\u0103, Bucure\u0219ti, 2010;<\/p>\n

        B\u0103lan, Arhimandritul Ioanichie, Patericul rom\u00e2nesc<\/em>, Editura Episcopiei Romanului, Roman, 2001;<\/p>\n

        Bal\u0219, \u0218tefan, M\u0103n\u0103stirea Humor<\/em>, Editura Meridiane, Bucure\u0219ti, 1965;<\/p>\n

        Chiril al Ierusalimului (Sf.), Catehezele, <\/em>Editura Institutului Biblic \u0219i de Misiune Ortodox\u0103 al Bisericii Ortodoxe Rom\u00e2ne, Bucure\u0219ti, 2003;<\/p>\n

        Damaschin Dorneanul, Episcop-vicar al Arhiepiscopiei Sucevei \u0219i R\u0103d\u0103u\u021bilor, Dimensiunea mistagogic\u0103 a S\u0103pt\u0103m\u00e2nii Sfintelor P\u0103timiri. Elemente de antropologie duhovniceasc\u0103<\/em>, Editura Crimca, Suceava, 2022;<\/p>\n

        Dr\u0103gu\u021b, Vasile, HUMOR<\/em>, Editura Meridiane, Bucure\u0219ti, 1973;<\/p>\n

        Podlacha, Wladyslaw \u0219i Nandri\u0219, Grigore, Umanismul picturii murale postbizantine<\/em>, Editura Meridiane, Bucure\u0219ti, 1985;<\/p>\n

        Sinigalia, Tereza \u0219i Boldura, Ovidiu, Monumente Medievale din Bucovina<\/em>, Editura ACS, Bucure\u0219ti, 2010;<\/p>\n

        \u0218tef\u0103nescu,I. D., Iconografia artei bizantine \u0219i a picturii feudale rom\u00e2ne\u0219ti,<\/em> Editura Meridiane, Bucure\u0219ti, 1973.<\/p>\n

        \n

        [1]<\/a> Textul pisaniei  s\u0103pat \u00een piatr\u0103, a\u0219ezat pe peretele dinspre sud, \u0218tefan Bal\u0219, M\u0103n\u0103stirea Humor<\/em>, p. 8.<\/p>\n

        [2]<\/a> Arhimandritul Ioanichie B\u0103lan, Patericul rom\u00e2nesc<\/em>, p. 169.<\/p>\n

        [3]<\/a> Cf Arhid. Ioan I. Ic\u0103 Jr aceasta este \u00eemp\u0103r\u021birea clasic\u0103 a S\u0103pt\u0103m\u00e2nii Mari, \u00een Damaschin Dorneanul, Episcop-vicar al Arhiepiscopiei Sucevei \u0219i R\u0103d\u0103u\u021bilor, Dimensiunea mistagogic\u0103 a S\u0103pt\u0103m\u00e2nii Sfintelor P\u0103timiri. p. 13, <\/em>dar cf PS Damanschin Dorneanul \u00eemp\u0103r\u021birile mai recente a\u0219eaza Joia Mare ca o zi de sine st\u0103t\u0103toare, de trecere spre Triduumul Pascal, \u00een Damaschin Dorneanul, Episcop-vicar al Arhiepiscopiei Sucevei \u0219i R\u0103d\u0103u\u021bilor, Dimensiunea mistagogic\u0103 a S\u0103pt\u0103m\u00e2nii Sfintelor P\u0103timiri. P. 489, nota 1934.<\/em><\/p>\n

        [4]<\/a> Wladyslaw Podlacha \u0219i Grigore Nandri\u0219, Umanismul picturii murale postbizantine, <\/em>p. 136.<\/p>\n

        [5]<\/a> Reprezentarea obi\u0219nuit\u0103 \u00een Moldova acelor vremuri, cf. Vasile Dragu\u021b, Humor<\/em>, p. 11.<\/p>\n

        [6]<\/a> Triodul<\/em>, p 598.<\/p>\n

        [7]<\/a> Damaschin Dorneanul, Episcop-vicar al Arhiepiscopiei Sucevei \u0219i R\u0103d\u0103u\u021bilor, Dimensiunea mistagogic\u0103 a S\u0103pt\u0103m\u00e2nii Sfintelor P\u0103timiri. p. 448.<\/em><\/p>\n

        [8]<\/a> Triodul<\/em>, Sedealn\u0103, gl 1, Utrenia din Sf\u00e2nta \u0219i Marea Joi (Denia de Miercuri seara), p. 585.<\/p>\n

        [9]<\/a> Triodul, <\/em>Stihira, gl 1, R\u00e2nduiala ce se face la sf\u00e2nta \u0219i dumnezeiasca sp\u0103lare a picioarelor, in Joia cea mare, p. 599.<\/p>\n

        [10]<\/a> Liturghier, <\/em>Rug\u0103ciunea amvonului, p. 198.<\/p>\n

        [11]<\/a> Triodul<\/em>, Stihira, gl 2, p 599<\/p>\n

        [12]<\/a> I. D. \u0218tef\u0103nescu, Iconografia artei bizantine \u0219i a picturii feudale rom\u00e2ne\u0219ti<\/em>, p. 71.<\/p>\n

        [13]<\/a> Liturghier, <\/em>R\u00e2nduiala \u00eempart\u0103\u0219irii clericilor, p. 187-190.<\/p>\n

        [14]<\/a> Sf Chiril al Ierusalimului, Cateheza a V-a mistagogic\u0103 Despre zidirea duhovniceasc\u0103<\/em>, v 21-22, p. 366.<\/p>\n

        [15]<\/a> Liturghier, <\/em>Rugaciunea Heruvicului, p. 159.<\/p>\n

        [16]<\/a> Prezen\u021ba \u00eengerului cu ripide este cunoscut\u0103 \u00eencep\u00e2nd cu secolul al XI – lea \u0219i apare tot sub influen\u021ba practicii biserice\u0219ti.<\/p>\n

        [17]<\/a> Liturghier, <\/em>p. 194.<\/p>\n

        [18]<\/a> Wladyslaw Podlacha \u0219i Grigore Nandri\u0219, Umanismul picturii murale postbizantine, <\/em>p. 217.<\/p>\n

        [19]<\/a> Conform Wladyslaw Podlacha \u0219i Grigore Nandri\u0219, Umanismul picturii murale postbizantine, <\/em>p. 188, la Cop\u021bi s-a p\u0103strat obiceiul particular de a-l blestema pe Iuda  \u00een timpul citirii descrierii ultimelor clipe ale M\u00e2ntuitorului.<\/p>\n

        [20]<\/a> \u201eM\u00e2inile cu care ai luat p\u00e2inea nestric\u0103ciunii, le-ai \u00eentins de ai luat argin\u021bii; gura \u021bi-ai adus cu \u00een\u0219el\u0103ciune spre s\u0103rutare cu care ai primit Trupul \u0219i S\u00e2ngele lui Hristos; dar, vai \u021bie!, precum zice Hristos\u201d. Triod, Pavecerni\u021ba mic\u0103 din Joia Mare, C\u00e2ntarea 9, troparul 8.<\/p>\n

        [21]<\/a> Triodul<\/em>, Utrenia din Sf\u00e2nta \u0219i Marea Joi,Stihoavna, p. 591-592.<\/p>\n

        [22]<\/a> \u201c\u0218i dup\u0103 \u00eembuc\u0103tur\u0103 a intrat satana in el<\/em>\u201d, <\/em>In 13,27<\/p>\n

        [23]<\/a> Liturghier<\/em>, Rug\u0103ciuni \u00eenainte de dumnezeiasca \u00eemp\u0103rt\u0103\u0219ire, Rugaciunea a \u0219aptea, p. 360.<\/p>\n

        [24]<\/a> Triodul, <\/em>Utrenia din Sf\u00e2nta \u0219i Marea Joi, C\u00e2ntarea 9, Irmosul, p. 590.<\/p>\n

        [25]<\/a> Liturghier<\/em>, Rug\u0103ciuni \u00eenainte de dumnezeiasca \u00eemp\u0103rt\u0103\u0219ire, p 348-366.<\/p>\n","protected":false},"excerpt":{"rendered":"

        M\u0103n\u0103stirea Humor a fost zidit\u0103 \u0219i \u201e\u00eenchinat\u0103 Adormirii Sfintei Fecioare Maria Maica Domnului pe cheltuiala \u0219i cu osteneala robului lui Dumnezeu Jup\u00e2n Toader marele logof\u0103t \u0219i ale so\u021biei lui Anastasia […]<\/p>\n","protected":false},"author":1,"featured_media":3372,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[41],"tags":[],"class_list":["post-3371","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-articole"],"acf":[],"yoast_head":"\nTriduum-ul Pascal zugr\u0103vit \u00een pictura mural\u0103 a M\u0103n\u0103stirii Humor. Partea \u00eent\u00e2i \u2013 Altarul - Editura CRIMCA<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/edituracrimca.ro\/en\/triduum-ul-pascal-zugravit-in-pictura-murala-a-manastirii-humor-partea-intai-altarul\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Triduum-ul Pascal zugr\u0103vit \u00een pictura mural\u0103 a M\u0103n\u0103stirii Humor. 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