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CRISTIANESIMO E ARTE in ETIOPIA La Cattedrale Cattolica Di Emdibir Musiè Gebreghiorghis, Dal 2003 Eparca Di Emdibir, Zona Guraghe E Wolisso in Etiopia

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CRISTIANESIMO E ARTE in ETIOPIA La Cattedrale Cattolica Di Emdibir Musiè Gebreghiorghis, Dal 2003 Eparca Di Emdibir, Zona Guraghe E Wolisso in Etiopia CRISTIANESIMO E ARTE IN ETIOPIA La cattedrale cattolica di Emdibir Musiè Gebreghiorghis, dal 2003 Eparca di Emdibir, Zona Guraghe e Wolisso in Etiopia. Al suo ingresso in dioce- si ha trovato una chiesa bella e accogliente, dedicata a Sant’Antonio di Padova, ma spoglia e costruita in stile europeo. Trattandosi di una Eparchia e volendo seguire le indicazioni del decreto sulle Chiese Orientali, il Ve- scovo dapprima ha provveduto a una triplice suddivi- sione della chiesa secondo la tradizione etiopica. Poi ha curato la decorazione dell’interno. L’invito delle sue pareti spaziose a fare qualcosa per riempire il vuoto è stato irresistibile. Così ha invitato l’artista Melake Genet con suo figlio Qesi per eseguire gli affreschi, con temi e stile etiopico. Questo lavoro è durato ben sette anni. Ora la cattedrale cattolica di Emdibir risplende in tutta la sua magnificenza. Il Vescovo Musiè Gebreghiorghis ora si augura che essa risvegli un apprezzamento sem- pre maggiore del patrimonio culturale e artistico di una chiesa apostolica di matrice orientale in piena comunio- ne con la sede di San Pietro. Musiè Ghebreghiorghis, Eparch of Emdibir, Guraghe and Wolisso Zone, Ethiopia, ever since 2003. When he took over the pastoral ministry of diocese he found a beautiful and welcoming western style architecture church with spacious walls without paintings, dedicated to St. Anthony of Padua. As the Eparchy was of Eastern tradition and in compliance with the directives of the Decree on Oriental Churches, the bishop first worked on the threefold division of the Church in line with the Ethiopian tradition; then he decorated it with paintings. To fill in the spacious empty walls of the Church was just compelling. He has invited therefore, Melake Genet Berhè and his son to work on decorating the Church with Ethiopian paintings and subjects. It took the artist seven years to accomplish the work. Today the Catholic Cathedral of Emdibir shines in beauty and splendor. It is the hope and desire of Bishop Musiè that this work re- awakens greater appreciation of the cultural and artistic heritage of an Apostolic Church of Oriental tradition in EDITRICE full communion with the See of St. Peter. CRISTIANESIMO E ARTE IN ETIOPIA La cattedrale cattolica di Emdibir CHRISTIANITY AND ART IN ETHIOPIA The catholic cathedral of Emdibir A cura di / Edited by Egidio Todeschini EDITRICE In copertina: i quattro Evangelisti. Sul retro: S. Antonio di Padova, patrono di Emdibir. On the cover: the four Evangelists. At the back: St. Anthony of Padua, patron Saint of Emdibir. Nel risvolto: il grano e la vite, pane e vino, i simboli dell’Eucarestia. On inside flap: wheat and vine, bread and wine, symbols of the Eucharist. Affreschi di Melake Genet Berhè Ghebrekidan. Cattedrale di Emdibir, Guraghe, Etiopia. Paintings by Melake Genet Berhè Ghebrekidan. Emdibir Cathedral, Guraghe, Ethiopia. 2 Prefazione E’ stato detto e scritto tanto dell’arte etiopica da studiosi competenti in materia e non è il caso di ripetere, con linguaggio profano, quanto è stato già illustrato e descritto con com- petenza e profondità da altri. Mi limiterò quindi a narrare com’è nato questo libro di arte etiopica che riproduce le immagini sacre dipinte sulle pareti della Chiesa di Sant’Antonio di Padova a Emdibir, Zona Guraghe, circa 185 km a Sud-Ovest di Addis Abeba (Etiopia). Durante un viaggio da Addis Abeba ad Adigrat per l’ordinazione episcopale di Abune Tesfa- sellassie, Eparca di Adigrat, nel gennaio 2002, ho fatto una sosta a Wukro, nel Tigray, per salutare Abba Yosief (Badres, José Luis) dei Padri Missionari per l’Africa. Appena sceso dalla macchina, l’edificio che ha catturato la mia attenzione è stato la chiesa dedicata aBeata Le Mary’am (Presentazione di Nostra Signora) con le mura ben affrescate. Nella parte esterna della chiesa sono riprodotti episodi presi dal Wuddassie Mariam (Lodi di Maria) in colori vivaci. Ho visitato anche la chiesa monolitica di Qirqos scavata sulla roccia ugualmente im- pressionante per la riproduzione architettonica e per gli affreschi che risalgono chi sa a quale periodo. Mi sono congratulato con Abba Yosief per la realizzazione artistica e ho proseguito il mio viaggio per Adigrat. A distanza di qualche anno, quando da Sua Santità Papa Giovanni Paolo II mi è stata affidata la cura pastorale di Emdibir, il 25 novembre 2003, ho trovato una bellissima chiesa spazio- sa, dedicata a Sant’Antonio di Padova, dove ci stanno comodamente seduti circa settecento persone, costruita in pietre squadrate da Abba Francois Markos, nativo di Nadene in Cheha (Zona Guraghe) e ufficialmente inaugurata il 14 gennaio del 1956 dall’allora Abune Haile- mariyam Kahsay (1951-1961), Esarca di Addis Abeba e Amministratore Apostolico di Dessie, Gondar, Emdibir e Tigray. La dedica dell’inaugurazione della nuova chiesa di Sant’Antonio di Padova in lingua Ge’ez conservata nell’archivio dell’Eparchia di Emdibir recita come segue: “Gloria a Dio ed onore alla Madre di Adonai. Questa chiesa è stata dedicata a Sant’An- tonio il 6 di Tir nell’anno 1948 dell’era cristiana (del calendario Giuliano e cioè il 14 gennaio 1956 del calendario Gregoriano) nel 17mo anniversario dell’elezione di Sua Santità Pio XI come Papa nella sede di San Pietro a Roma con giurisdizione su tutta la Chiesa Cattolica; il 25mo anniversario del regno dell’imperatore Hailesellassie primo re dei re d’Etiopia e figlio dell’onorevole Ras Mekonnen; il quinto anniversario di Sua Beatitudine Abune Hailemariam Kahsay, nativo di Adigrat, Exarca Apostolico di Addis Abeba, con giurisdizione sugli Etiopici cattolici di rito etiopico e Amministratore Apo- stolico di Dessie, Gondar, Emdibir e Adigrat”. Originariamente la chiesa era costruita in pietre da Abba Bernard, Cappuccino missionario di Quebec (1928-1937) nel 1929 in sostituzione alla chiesa circolare in legno con il tetto di paglia precedentemente costruita da Abba Paschal de Luchon (1925-1927) nel 1925. Il pavi- 3 mento era rifatto da poco (1999) e le panche erano tutte nuove, offerte dai fedeli, nativi di quella zona, che vivono ad Addis Abeba. L’invito delle pareti spaziose di quella chiesa, spoglie com’erano, a fare qualcosa per riempire il vuoto era irresistibile. L’impressione degli affreschi di Wukro sono allora affiorati di nuovo freschi nella memoria e così abbiamo contattato Abba Yosief Bandres per chiedere notizie dell’artista che aveva realizzato gli affreschi a Wukro. E così, attraverso questo contatto, -l’ar tista Melake Genet (Titolo d’onore che significa “Angelo del Paradiso”) Berhè Ghebrekidan è venuto ad Emdibir con suo figlioQesis (letteralmente “celebrante”) Alem Berhè per affresca- re la chiesa di Sant’Antonio di Padova. Trattandosi di una Eparchia, il desiderio di mettere in pratica le raccomandazioni dell’Orien- talium Ecclesiarum (il decreto sulle Chiese Orientali Cattoliche) che recita “Sappiano, e siano certi tutti gli Orientali che possono sempre e devono conservare i loro legittimi riti e la loro disciplina… e devono acquistare una conoscenza sempre più profonda e un uso più perfetto e, qualora per circostanze di tempo o di persone fossero indebitamente venuti meno a esse, procurino di ritornare alle avite tradizioni” (OE, 6) era nel piano pastorale fin dal mio ingresso ufficiale a Emdibir il 15 febbraio del 2004. La litur- gia e lo spazio liturgico erano quindi il soggetto più indicato per dare una risposta adeguata alla raccomandazione del Decreto. Fortunatamente, la chiesa di Sant’Antonio di Padova di Emdibir costruita nello stile occiden- tale, guardava già verso l’oriente secondo la tradizione etiopica. La divisione interna però non era ancora contemplata. Abbiamo quindi invitato Abba Emmanuel Fritsch, membro del- la Congregazione dello Spirito Santo - uno studioso che ha dedicato tutta la sua vita per la ricerca scientifica sulla storia, cultura e tradizione etiopica e uno delle massime autorità per gli studi etiopici in modo particolare per quanto riguarda l’architettura, pittura e liturgia - per darci suggerimenti professionali sulla triplice suddivisione delle chiese secondo la tradizione etiopica. E’ stata aggiunta quindi una grata che separa la navata principale dall’ambone e un’altra parete di legno che separa l’ambone dall’altare dove viene custodito il Tabot, repli- ca dell’arca dell’alleanza. L’altare è piuttosto ridimensionato, perché rappresenta l’altare del sacrificio e non già una semplice mensa, secondo i canoni etiopici con la cupola tutta elabo- rata dal famoso falegname Salvatore de Vita. Fatta la divisione, l’artista si è messo all’opera. Aveva già affrescato 72 chiese delle quali cinque cattoliche ad Adigrat e nei dintorni. Delle chiese cattoliche la nostra figurava la sesta. Tutte le altre erano chiese della Chiesa Ortodossa Tewahdo d’Etiopia. Ha impiegato ben sette anni per affrescare la nostra chiesa con temi e stile etiopico. Le tappe più importanti della storia della salvezza del Vecchio e Nuovo Testamento come anche alcuni episodi storici della Chiesa fino all’evangelizzazione dell’Etiopia nel quarto secolo e l’epopea missionaria del diciannovesimo secolo sono riprodotte con gusto artistico e colori ben com- binati. L’impressione riportata dai visitatori era così positiva che quando venne Don Egidio Tode- schini, cappellano della comunità italiana in Liechtenstein, a trovarci a Emdibir nel 2003 e gli abbiamo proposto di cercare qualche laureando di arte sacra che avesse voglia di fare una 4 tesi sulle icone, la sua proposta è stata di fare piuttosto la pubblicazione di un libro con tutte le pitture eseguite nella chiesa di Sant’Antonio di Padova a Emdibir. Ha portato quindi un fo- tografo professionista dall’Italia e l’opera ha incominciato a prendere forma. Intanto abbiamo contattato degli studiosi per la preparazione dei testi. La parte storica è sta- ta affidata al Prof. Tewelde Beyene, OFMCap Docente di storia ecclesiastica e al Prof. Osvaldo Raineri, esperto in Lettere e Storia etiopica con la cattedra all’Istituto Orientale di Roma, mentre il significato e l’interpretazione artistica sono stati affidati ad Abba Jose Bandres, Abba Emmanuel Fritsch and Abba Brendan Cogavin tutti periti in materia.
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