Király Erzsébet - Jávor Anna szerk.: A Magyar Nemzeti Galéria Évkönyve 1997-2001, Művészettörténeti tanulmányok Sinkó Katalin köszöntésére (MNG Budapest, 2002)

TANULMÁNYOK / STUDIES - PUSKÁS Bernadett: Taraszovics Bazil munkácsi püspök (1633-1651) két antimenzionja.

41 Az adott környezet hangsúlyozása azért lényeges, mert a nyugati kapcsolatok révén nem egyszer jelennek meg a keleti posztbizánci ikonográfiában nyugati, középkori ikonográfiái megfogalmazások is, amelyek az új kontextusban szükségképpen kissé módosított értelmezésben épülnek be a helyi művészetbe. A passióval kapcsolatos ábrázolásokhoz Id. Puskás Bernadett: A Passió ábrázolása a Kárpát-vidék ikonfestészetében, in: Posztbizánci Közlemények III. KLTE. Debrecen, 1997. 122 -132. 42 Ld. például Mindenszentek vasárnapja, tituluslap metszetének részlete, in: Virágos Triodion, Lemberg, 1666-1667. 3anacK0, .H.-IcatBHH, fí.: i. m. (13. j.) 83. (433. tétel) 43 Kapa-BacnnbeBa, T.: Jlimypeiűne luumeo yxpainu XV1I-XVIII cm. JlbBÍB, 1996. 66-68. 44 Belting, Hans: Kép és kultusz. Bp., 2000. 112-113. Belting a későbbiekben utal arra, hogy az ábrázolásoknak kiemelt szerepük van a történeti esemény liturgikus megismétlésében. 45 HacmojibHax Kiiuea cexufeHHOCJiyxcumejvi. MocKBa, 1983. 39. 46 Bouras, L.: The epitaphios of Thessaloniki. Bizantine Museum of Athens, Na 685, in: L' Art de Thessalonique et des pays balkaniques et les courants spirituels au XlVe siècle. Publ. parD. Davidov. Belgrade, 1987.211-214. 47 Az epitáfioszok tradícióját a 17. század első felében is követik az orosz antimenzionok, a század második felétől azonban a lvivi mintát követő mesterek nyomán ott is megváltozik a kompozíció. Vö. AneKceeBa: i. m. (29 .j.) 432-433. 48 CH/top-OuiypiœBHM: i. m. (20. j.) 175. 49 IOPHHUIHH: i. m. (19. j.) 27. 50 Vö. Kaszlej, A.-Deluga, W.: Sztuka iluminaeji i grafiki cerkiewnej. Katalog wystawy, Warszawa, 1996. 51 A mintaadó antimenzion rézmetszetről, melyeket Iván Sczyrski vilnai mester készítettek ld. CTenoBHK, JX.: leau LUupcbKuù. KHÏB, 1988. 94. 52 Vö. JlaatDKHHCbKHH, B.: YKpaÏHCbKi aumu.Mincu XVII-XIX cm. „HOTSTKH 3 MHCTeUTBa. OÖ'eaHaHHH MHTUÍB-y KpaÍHIlÍB B AlVtepHUi". (Biflflijl 3 OijiaflejiMbiï.) 16. 1976. 15 30. BERNADETT PUSKÁS Two Antimensions by the Bishop of Munkács Basil Tarasovich (1633-1651) SOME DATA TO THE RESEARCH OF 17TH CENTURY RELIC VEILS Out of the relic veils of the historical diocese of Munkács (Mukacsevo, Ukraine), two antimensions of the bishop Basil Tarasovich preserved in the Collection of Prints and Drawings at the National Museum in Lemberg (Lviv, Ukraine) are especially interesting. Bishop Tarasovich sanctifying antimensions has a peculiar place in the church history of the region. A dramatic figure of the struggle for ecclesiastic unity, he came to terms with Rome as the head of the eastern church and then withdrew from it upon the impact of the local circumstances. He aspired after the unity, but he also tried to conserve the peculiar eastern profile of his church. How do the relic veils adorned with the figures of the Pantocrator and the four evangelists, a rare iconography of antimensions, fit in the iconography of antimension design in the region? The high priest of Munkács had a broad network of ecclesiastic contacts in Przemysl, Lemberg, Kiev, Moldavia. One of his woodcut relic veils is stylistically closest to representations of a similar theme by Lviv and Kiev book decorators (PantocratorLenten Triodion/Song Collection, Kiev, 1624, verso of titlepage). The hand-painted naive antimension was most probably made - perhaps after the printed version - in the immediate surroundings of Basil Tarasovich, presumably during his exile in Nagykálló when the bishop was banished from the then orthodox diocese by the ruler, György Rákóczi I of Transylvania and his castellan of Munkács, János Ballingh because he had championed the cause of the unified church. The antimension is a relic veil (tantamount to the altarstone): it is the place where through the symbolic role of the relic, contact with the transcendental sphere can be established more directly. On the other hand, it is the altar of the glory of the resurrected Christ, symbolizing the invisible presence of the mercy and glory of God. At this point the various types of medieval and 17th century antimension decorations converge. The medieval antimension has a central motif - a cross with lance and sponge, and Adam's skull at the foot - surrounded by an inscription. The "new tree of life of Paradise" rising amidst the Evangelist emblems surrounded by IC XC NIKA (Jesus Christ triumphs) is the instrument of victory, the sign of glory. Antimentions were printed from the early 17th century, in either of two major types of medieval composition. In 1620-40 several antimensions adopted the "Basileos thes Doxes" (king of glory) type in Byzantine iconography. Showing Christ standing in a sarcophagus, it represents a liturgical, eucharistie symbolism. The other more frequent scene was that of the Entombment. In one variant, three angels place Christ lying on the shroud into a stone coffin, one wiping his tears with the edge of the shroud. In the background is the cross with the inscription IC XC NIKA and the corners show the busts of the Evangelists. In the given context this iconography evokes the Entombment enacted by the liturgical events. (The matrix of one of these engravings originally made for Varlaam Szeptycki, bishop of Lemberg [Galicie] [1710-1715] was obtained by the bishop of Munkács György Bizánczy [1716-1732] at the venue of his consecration.) According to the explanations of the liturgy, the antimension replaces the altar as the throne of God, symbolizing the presence of the sacrosanct and Almighty Christ. The four sides of the