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Le Icone Mariane Di Area Romana

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Le Icone Mariane Di Area Romana ALLE ORIGINI DELLA CRISTIANITA’ LE ICONE MARIANE DI AREA ROMANA GLI ALBORI DEL CULTO A MARIA Il cristianesimo, dopo un periodo iniziale di incertezze dovuto alla coesistenza al suo interno di due opposte tendenze, ovvero l’avversione giudaica verso le immagini (1) e la tendenza pagana ad esse eccessivamente favorevole, superata la fase delle eresie cristologiche dei primi secoli, si serve largamente delle immagini per divulgare la nuova fede che ha il suo fondamento nell’incarnazione e nella dottrina trinitaria. Con la messa a punto della dottrina trinitaria, prende forma anche il culto della Madre di Dio e con il Concilio di Efeso (431), viene definitivamente sancito il diritto di Maria di fregiarsi del titolo di Theotokos , ovvero di Madre di Dio. L’immagine di Maria, dopo quella di Cristo, è quella più rappresentata in tutti i paesi cristiani. Dopo il Concilio di Efeso, in tutte le città dell’impero furono edificate chiese dedicata alla Madre di Dio e parallelamente si sviluppa il culto di venerazione delle sue immagini. A partire dal IV secolo cominciano ad apparire le feste mariane che si configureranno in un ciclo che mette in risalto i principali momenti del ruolo di Maria nella storia della Salvezza (Annunciazione, Natale, Presentazione di Gesù al tempio, Crocifissione) e della sua vita terrena (Concezione, Natività, Presentazione al tempio, Dormizione). Anche gli inni dei Melodi, i poeti –teologi, cantano la figura di Maria e a Costantinopoli i membri della famiglia imperiale romano-orientale, a partire dal V secolo, svolgono un ruolo attivo nel diffondere la presenza delle icone nella capitale dell’impero adoperandosi anche per far giungere da Gerusalemme le icone ritenute dipinte dalla mano di san Luca quando la Vergine era ancora in vita. Tuttavia, le prime raffigurazioni mariane si trovano nelle catacombe a Roma, siamo ancora nella generazione pioniera dell’arte figurativa cristiana, il primo terzo del III secolo e Maria madre del Salvatore, è raffigurata nelle scene del Natale e dell’Adorazione dei Magi (2). Cessato il periodo delle persecuzioni, i muri delle chiese si ricoprono di mosaici e di affreschi mentre l’affermazione e la diffusione del culto di venerazione delle immagini si manifesta, soprattutto, verso le icone portatili in legno conservate nelle chiese, nelle case, nei monasteri e nei luoghi pubblici, spesso usate come oggetti protettivi o veri e propri “palladi”per le città e gli eserciti. Non ti farai idolo né immagine alcuna di ciò che è lassù nel cielo né di ciò che è quaggiù sulla terra, né di ciò che è nelle acque sotto la terra . (Esodo 20) Madonna con Bambino e profeta catacombe di Priscilla. Adorazione dei Magi, catacombe di Priscilla LE ICONE PIÙ ANTICHE Il tema di cui si tratta intende mettere a fuoco un corpus di capolavori, spesso sconosciuti al grande pubblico, rappresentativi dell’Occidente romano in epoca altomedievale che conducono immediatamente alle origini della cristianità. L’analisi che andremo a fare delle icone di area romana del V – IX secolo, coeve delle altrettanto antiche e celebri icone sinaitiche, mira ad evidenziare la continuità con la tradizione più antica anche in Italia ed a sottolineare che le icone romane costituiscono una testimonianza tangibile della radice unitaria della fede cristiana della chiesa indivisa delle origini. Le icone del V-VII secolo giunte fino a noi provengono, verosimilmente da Costantinopoli, da Alessandria e dal monte Sinai. Sono icone preiconoclaste, dunque non rispondenti ad uno stile conforme alle regole dell’iconografia non ancora codificate e che giungerà a maturazione solo alla fine della crisi iconoclasta. A Roma, benché le notizie sull’origine delle opere siano spesso incerte, nel corso del V secolo, la presenza di icone è attestata storicamente dalla testimonianza del greco Teodoreto (393-457), ultimo grande teologo cristiano della scuola di Antiochia, il quale afferma che era normale per le strade di Roma vedere le icone dei santi appese agli ingressi delle botteghe e nei luoghi pubblici. E seppure le fonti ed i dati a nostra disposizione per fornire precise informazioni storiche sulla natura e l’origine delle icone romane siano più limitati rispetto a quelli di Costantinopoli, a Roma si trovano e sono venerate, senza soluzione di continuità dai primi secoli del cristianesimo, le icone tra le più antiche della cristianità. All’Istituto Centrale del Restauro di Roma, grazie all’avvio di un ciclo di restauri che inizia nel 1950 con la tavola dell’Odighitria di santa Maria Nova e prosegue fino al 1965 con il recupero di altre antiche importanti testimonianze iconografiche, sono state riportate alla luce delle icone, tutte di epoca preiconoclasta; si restaurano e si studiano, oltre all’Odighitria di santa Maria Nova, l’Odighitria di Santa Maria ad Martyres (Pantheon), la Madonna della Clemenza di Santa Maria in Trastevere e l’Aghiosorotissa dell’Oratorio del Rosario a Monte Mario. Frutto di un precedente restauro che risale al 1931, ultimo di una serie di interventi anche antichi che ne hanno molto alterato lo stato originario, è l’immagine attuale della Vergine Salus Populi Romani, la più venerata delle icone mariane della città. I TIPI ICONOGRAFICI I tipi iconografici della Madre di Dio hanno tutti alla base del loro formarsi un prototipo ritenuto o miracoloso o di origine apostolica, come ad esempio l’Achiropita e il ritratto della Madonna attribuito al pennello di san Luca. A Roma sono presenti entrambi i prototipi nel volto del Salvatore del Laterano Achiropita e nelle infinite attribuzioni delle icone della Vergine a san Luca. Tra i principali tipi iconografici della Madre di Dio che possono essere ricondotti al tipo della Brephocratousa, dell’Odighitria, dell’Eleousa, dell’Aghiosoritissa, della Blachernitissa, della Basilissa, della Galactotrophousa, la nostra indagine si soffermerà sulle tre tipologie prevalenti in area romana che fanno riferimento ai prototipi dell’ Odighitria e delle sue varianti (Salus Populi Romani), della Basilissa e dell’ Aghiosoritissa . L’Odighitria è l’espressione più compiuta del più generico prototipo della Brephocratousa (Colei che porta il bambino) al quale si ascrivono tutte le immagini della Madre di Dio con il Bambino. L’Odighitria Il prototipo dell ’Odighitria è tra le icone più celebri della Madre di Dio, si ritiene eseguita dall’evangelista Luca mentre la Madonna era ancora in vita, fu per secoli il "palladio" di Costantinopoli, andato perso quando la città cadde in mano ai Turchi nel 1453. Dopo i Concili di Efeso (431) e Calcedonia (451), nei quali si riconobbe la divina maternità di Maria fregiandola del titolo di Theotokos, il prototipo ha dato origine a innumerevoli copie giunte fino a noi, le più antiche delle quali risalgono al V sec. e sono dipinte ad encausto di esse una copia si trova a Kiev in Russia e proviene dal Sinai, l’altra a Roma a Santa Maria Nova al Foro Romano. L’Odighitria venerata al Pantheon a Roma è invece del VII secolo. E’ solo a partire dall’XI secolo che le copie si moltiplicano grazie alla fine dell’iconoclastia ed alla definitiva legittimazione dell’icona; l’Italia, per la vicinanza alla Grecia e a Costantinopoli e per le vicende storiche che la legano all’area di irradiazione delle icone, conserva un gran numero di copie dell’Odighitria, spesso venerate sotto il nome abbreviato di Itria o sotto quello di Madonna di Costantinopoli o di Madonna Greca o di San Luca . Il nome deriva dal greco οδηγός (guida, condottiero), da cui il significato attuale di “Colei che mostra la via”; e la via è appunto Cristo indicato da Maria con la mano. Il nome gli viene dal santuario mariano di Costantinopoli dove l’immagine era custodita, quello detto “degli odigoi” o “delle guide”, dal nome dei monaci custodi del santuario che facevano da guide ai frequentatori del santuario (soprattutto ciechi) venuti a chiedere la guarigione. Secondo la tradizione la Madre di Dio sarebbe apparsa a due ciechi e, conducendoli al suo santuario, avrebbe ridato loro la vista. Da allora i sofferenti di malattie agli occhi si recavano alla sorgente, che sgorgava vicino alla chiesa, e si lavavano gli occhi per ottenere la guarigione. Nel tipo canonico, Maria, la Theotokos, è raffigurata in posizione frontale e regge il Bambino con il braccio; indossa una tunica di colore verde e il maphorion di colore rosso; i capelli sono celati dalla mitella appena sotto il manto. Il Bambino è seduto sul braccio, anch’egli in posizione frontale, ma appena rivolto verso la Madre; con la destra leggermente alzata benedice alla greca, mentre con la sinistra regge un rotolo di pergamena, simbolo di saggezza e di sapienza, tradizionalmente attributo dei profeti. Egli è insieme bambino e adulto, è l’Emmanuele con gli attributi della divinità: nimbo crociato con la scritta O Ω N; ai lati i monogrammi IC XC. I monogrammi della Madre sono ΜΡ ΘΥ . La Vergine tende la sua mano libera verso il Bambino, in un gesto che lo indica. Nel tipo canonico dell’Odigitria, l’atteggiamento della Madre è ieratico, di distacco e di grande rispetto, quello del Bambino è soffuso di regalità come si addice al Dio-Uomo. Vergine in trono VI sec La Basilissa Affresco cm. 220x240 Il tipo iconografico può essere ricondotto all’affresco della Vergine Catacombe Commodilla Turtura. Protagonista della macroicona è la Madre di Dio assisa su un trono gemmato, fornito di un cuscino di porpora e di suppedaneo. La Vergine stringe, con la destra, una mappula, mentre sostiene, con la sinistra, il Bambino, che, a sua volta, tiene un rotolo sigillato. La Theotokos è raffigurata vestita di un maphorion di porpora e una candida mitella e calza scarpe rosse. E’ assisa da sovrana, con tutti gli onori che sono dovuti a una Basilissa. Il Bambino le è seduto in grembo, e ha la destra alzata in segno di benedizione e indossa una tunica dorata.
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