Стенописите във външната галерия на храма „Св. Никола Летни“ в село Чуковец. Зографи, теми, послания

Abstract

ABSTRACT: The article examines the frescoes executed in 1865 in the outer gallery (narthex) of the Church of St. Nicholas of the Summer in the village of Chukovets and their moral and didactic nature. Several basic compositions typical of the iconographic program from the period of the Bulgarian National Revival were analyzed – the Last Judgment, the Trials of the Soul, Righteous and Sinful Confession, At the Witch’s for a Cure, and the Parable of the Rich Man and Lazarus. Each of these subjects was examined not only as an expression of church dogmatic teachings, but also as an artistic instrument of moral impact on the laity through a language of the everyday life. The study pays special attention to the figure of the sinner and his personal transgressions, most often depicted in scenes of individual torment associated with specific social types and professions. Such images, typical for the second half of the 19th century, reflect both the tradition of Orthodox eschatology and the moral and didactic understanding from the National Revival period. Of particular interest is a scene that has no known parallels in other mural programs – the figure of the “Traitor to His People”. The question of authorship and artistic style of the icon painters who worked on the decoration is also examined. The commemorative inscription certifies that the murals are the work of four famous icon painters from the Samokov school – Nikola Obrazopisov, Kosta Gerov-Antikarov, Hristaki Zahariev, and Dimitar Hristov. Through stylistic analysis, the article attempts to distinguish the contribution of each of them in the murals of the church. In a broader cultural and historical context, the iconographic program in Chukovets’ church is viewed as part of a rich regional tradition based on the interaction between religious centres such as the Rila Monastery and local communities. The research makes observations on the connections between visual decoration and the religious life of the laity, as well as on the role of the image as a means of moral instruction and cultural identity. The article contributes to expanding knowledge about mural painting practices in Southwestern Bulgaria during the National Revival period and outlines a new perspective on the functions and impact of moraldidactic themes.

РЕЗЮМЕ: Настоящата статия изследва дидактичните стенописи, изпълнени през 1865 г. във външната галерия на храм „Св. Никола Летни“ в село Чуковец. Анализират се ключови композиции като Страшният съд, Митарствата на душата, Праведно и грешно изповедание, При врачката за цяр и Притчата за богатия и бедния Лазар. Обсъждат се техните иконографски особености, богословски и морални послания, както и връзките им с местната културна и поклонническа традиция. Специално внимание се отделя на образа на грешника, включително персоналните мъчения и професионалните прегрешения, застъпени в композициите. Статията допринася за разширяване на познанията за възрожденската стенописна живопис в Югозападна България.