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Religion Inspired Art and Politics: Neo-Orthodoxism as Neo-Traditionalism?

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Art, Religion and Resistance in (Post-)Communist Romania

Part of the book series: Modernity, Memory and Identity in South-East Europe ((MOMEIDSEE))

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Abstract

This chapter analyses the Neo-Byzantine (or as it is called after the fall of communism, “Neo-Orthodox”) stylistic tendencies recuperated in the post-communist Romanian cultural-political sphere. Some styles and thematic clusters of religious inspiration (of Neo-Byzantine descent) that emerged in the 1980s as a peripheral cultural phenomenon in relation to the official culture of Ceauṣescu’s national communism were recuperated and developed after the fall of the regime, becoming—for a while—a mainstream cultural phenomenon. This exploration includes a critical survey of what was called during communism “Neo-Byzantinism,” as well as its moves towards the post-communist denominations of “Neo-Orthodoxism” and “Neo-Traditionalism.” Thus, this chapter asks whether these denominations accurately reveal the Neo-Orthodox artists’ set of concerns.

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Notes

  1. 1.

    See for example Pavel Șușară cited in the online magazine Cultural Life, 18 March 2014. http://www.culturalife.ro/credo/religiosul-in-arta-contemporana/ (12 January 2020).

  2. 2.

    Ibidem.

  3. 3.

    See the 236 pages of documentation in the catalogue: Andrei Pleșu, Ioan Alexandru, Livius Ciocârlie and Dumitru Stăniloaie (eds?), “Studiul 3 Prolog” [Study 3 Prolog] (Bucharest: Institutul Cultural Român, 2009). Andrei Pleșu, Ion Alexandru, Liviu Ciocârlie and the Orthodox theologian, Dumitru Stăniloaie, wrote the theoretical texts accompanying the artworks.

  4. 4.

    See for example Andrei Pleșu, “Mereu reînceputul ‘Prolog’” [“Prolog”’s Perpetual Beginning], Dilema Veche 585 (30 April–6 May 2015) (Pleșu 2015); Alexandra Titu, “Prolog, o atitudine” [Prolog, An Attitude], Arta 1 (2000): 17 (Titu 2000); Dan Hăulică, “Purpură pentru Logos” [Purple for Logos], Preface for the catalogue Paul Gherasim (Pro Logos: Palatul Brâncovenesc Mogoșoaia, 2005), 16–19. http://patzeltart.ro/. Available at: http://patzeltart.ro/v/GHERASIM+PAUL/GHERASIM+PAUL+005.jpg.html (28 February 2020) (Hăulică 2005).

  5. 5.

    Magda Cârneci, Artele Plastice în România: 1945–1989. Cu o addenda 1990–2010 [Plastic Arts in Romania: 1945–1989. With an Addenda 1990–2010] (Iaṣi: Polirom, 2013), 134 (Cârneci 2013).

  6. 6.

    Alexandra Titu, Experimentul in Arta Româneasca dupa 1960 [The Experiment in Romanian Art after 1960] (Bucharest: Editura Meridiane, 2003), 178–179 (Titu 2003).

  7. 7.

    Codrina Laura Ioniță, “Religious Themes in Contemporary Art,” in Multiculturalism and the Convergence of Faith and Practical Wisdom in Modern Society, ed. Ana-Maria Pascal (Hershey: IGI Global, 2016), 209 (Ioniță 2016).

  8. 8.

    Ibidem.

  9. 9.

    Horia Roman Patapievici, “Triumful Absidei. Un Cântec la Moartea lui Marin Gherasim (1937–2017)” [The Triumph of the Apse. A Song at Marin Gherasim’s Death (1937–2017)]. Contributors.ro, 29 March 2017. http://www.contributors.ro/. Available at: http://www.contributors.ro/cultura/triumful-absidei-un-cantec-la-moartea-lui-marin-gherasim-1937-2017/ (28 February 2020) (Patapievici 2017).

  10. 10.

    See Alex Popescu, “Marin Gherasim.” Tyler Collection of Romanian & Modern Art, University of Tasmania. December 2016. https://tylercollection.omeka.net/. https://tylercollection.omeka.net/items/show/898. (21 December 2019) (Popescu 2016).

  11. 11.

    Pavel Ṣuṣară, “Marin Gherasim and His Guests,” România Literară, 17 (2002): 24–25 (Șușară 2002).

  12. 12.

    Costion Nicolescu, “Paul Gherasim, un Pictor Anahoret,” [Paul Gherasim, An Anchoret Painter] Tabor. Revista de Cultura si Spiritualitate Româneasca [Tabor. Magazine of Romanian Culture and Spirituality] 1 (2017): 37 (Nicolescu 2017).

  13. 13.

    Paul Gherasim cited in Ioniță, “Religious Themes in Contemporary Art,” 209.

  14. 14.

    Vasile Petrovici, Mihai Sârbulescu, Pictura, Grafica [Mihai Sârbulescu’s Painting and Graphics] (Iaṣi: PIM, 2018) (Petrovici 2018).

  15. 15.

    Idem., 9.

  16. 16.

    See the artist’s statement on http://www.christianparaschiv.com/.

  17. 17.

    Ibidem.

  18. 18.

    Ibidem.

  19. 19.

    Boniface Ramsey, “A note on the disappearance of the good shepherd from early Christian art,” The Harvard Theological Review 76(3) (1983): 375–378 (Ramsey 1983).

  20. 20.

    Foundation Anastasia’s blog. Available at: http://www.anastasiaonline.ro/blog/2018/01/30/fundatia-anastasia/. (20 December 2019).

  21. 21.

    See The National Museum of Romanian Peasant’s website. Available at: http://www.muzeultaranuluiroman.ro/home/pinacoteca-interzisa-en.html. (2 January 2020).

  22. 22.

    Ibidem.

  23. 23.

    Ibidem.

  24. 24.

    Erwin Kessler, X:20. O Radiografie a Artei Româneṣti după 1989 [X:20. A Radiography of Romanian Art after 1989] (Bucureṣti: Editura Vellant, 2013). Pavel Șușară, “Plastică: Nuclee si Tendinṭe,” [Visual Arts: Nuclei and Tendencies] România Literară, 27, 2001. https://arhiva.romlit.ro/index.pl/. Available at: https://arhiva.romlit.ro/index.pl/nuclee_i_tendine (28 February 2020) (Șușară 2001).

  25. 25.

    Ibidem.

  26. 26.

    Adrian Marino, Viaṭa Unui Om Singur sau Despre Sensul Autobiografiei Ideologice [A Lonely Man’s Life or About the Meaning of Ideological Autobiography] (Iaṣi: Polirom, 2010), 385 (Marino 2010).

  27. 27.

    Ibidem.

  28. 28.

    Constantin Abaluta, “Iconostasul Roman de la Scala Coeli” [Roman Iconostasis from Scala Coeli]. Observator Cultural 322, 25 May 2006. https://www.observatorcultural.ro/. Available at: https://www.observatorcultural.ro/articol/iconostasul-roman-de-la-scala-coeli-2/ (28 February 2020) (Abaluta 2006)

  29. 29.

    See Andrei Pleșu, “Un Liceu de Artă Plastică ṣi Câteva Ȋntrebări” [An Arts High School and a Few Questions], in Creaṭie ṣi Sincronism European. Miṣcarea Artistică Timiṣoreană a anilor 60’–70’, eds. Ileana Pintilie, Ștefan Bertalan, Constantin Flondor and Doru Tulcan (Timiṣoara: The Art Museum, 1991) (Pleșu 1991).

  30. 30.

    For a detailed excursus on Constantin Flondor’s artistic production from 111 to the Prolog period see the catalogue: Constantin Flondor, Georg Lecca, and Dana Crăciun, Flondor, de la “111” + “Sigma” la “Prolog” [Flondor from “111” + “Sigma” to “Prolog”]. (Cluj-Napoca: Idea Design & Print, 2005) (Flondor et al. 2005).

  31. 31.

    Oana Tănase, “Interview with Constantin Flondor,” Witnesses XXI, Revisiting the Past. A Collection of Video Interviews, 2012. Concept by Aurora Király, based on a concept developed together with Iosif Király, min. 18:59. https://aurorakiraly.weebly.com/interview-with-constantin-flondor-by-oana-t259nase.html. (3 January 2020) (Tănase 2012).

  32. 32.

    Idem., min. 21:12 to 21.55.

  33. 33.

    Idem., min. 0:26.

  34. 34.

    Ibidem.

  35. 35.

    Idem., min. 34:13.

  36. 36.

    Idem., min. 35:06.

  37. 37.

    Idem., min. 41:37 to 42:04.

  38. 38.

    See the video interview of Costion Nicolescu with Constantin Flondor, in Costion Nicolescu, “De vorba cu artistul Constantin Flondor” [Chatting with the artist Constantin Flondor]. 1 November 2018. https://www.youtube.com/. Available at: https://www.youtube.com/watch?v=zSLrGqBIiwM (4 January 2020) (Nicolescu 2018).

  39. 39.

    For an elaborate argument on thematic synthesis, see Cătălin Davidescu, “Constantin Flondor. ‘Cernere/Ningere’” [Sifting/Snowing]. România Literară 51–52 (2019). https://romanialiterara.com/. Available at: https://romanialiterara.com/2019/12/constantin-flondor-cernere-ningere/ (28 February 2020).

  40. 40.

    Ibidem.

  41. 41.

    See Sorin Neamțu’s “Considerations on Constantin Flondor’s solo exhibition, Sifting (2012),” on the Facebook page of the BARIL Art Gallery in Cluj-Napoca (founded in 2012 by Tiberiu Adelmann and Sorin Neamțu) https://www.facebook.com/pg/baril.ro/community/ (3 March 2020) (Neamțu 2012).

  42. 42.

    Ibidem.

  43. 43.

    Ibidem.

  44. 44.

    Andrei Rosetti and Grigore Roibu, “Constantin Flondor: Toată viața mea a fost o lecție de pictură” [Constantin Flondor: All my Life was a Painting Lesson], Arta Vizuală 21 (13 April 2014). https://artavizuala21.wordpress.com/. Available at: https://artavizuala21.wordpress.com/2014/04/13/interviu-cu-constantin-flondor-toata-viata-mea-a-fost-o-lectie-de-pictura/ (4 January 2020) (Rosetti and Roibu 2014).

  45. 45.

    Ibidem.

  46. 46.

    Ibidem.

  47. 47.

    See “Constantin Flondor. Sifting” on BARIL Art Gallery’s website. Available at: http://www.baril.ro/publications#/constantin-flondor-sifting/. (20 February 2019)

  48. 48.

    Ibidem.

  49. 49.

    According to Gabriela Nicolescu, the denomination “National” attached to museums was uncommon after the fall of the communist regime. However, she points out that starting in the 2000s, the Ministry of Culture determined that some museums could add this denomination as a recognition of their value: “all the employees of ‘national’ museums received an increase of 25% of their budgetary salaries. In the legal context, this increase was highly significant and many employees were quite fond of the new appellation.” Gabriela Nicolescu, “Art, Politics and the Museum: Tales of Continuity and Rapture in Modern Romania,” PhD thesis in Anthropology (Goldsmith College: University of London, 2015): 33 (Nicolescu 2015).

  50. 50.

    Luiza Barcan, “Bucarest’s Curtea Veche Gallery,” ARTmargins, 1 November 2002. https://artmargins.com/. Available at: https://artmargins.com/bucarests-curtea-veche-gallery/ (7 January 2020) (Barcan 2002).

  51. 51.

    The art piece entitled Tryptic by Horia Bernea can be viewed online on the website of the research project Courage: Connecting Collections. See Cristina Petrescu and Cristian Valeriu Pătrășconiu, “Bernea, Horia. Triptych, 1978–1979. Painting.” Research project Courage: Connecting Collections (2019). http://cultural-opposition.eu/. Available at: http://cultural-opposition.eu/registry/?uri=http://courage.btk.mta.hu/courage/individual/n42344 (28 February 2020) (Petrescu and Pătrășconiu 2019).

  52. 52.

    Ibidem.

  53. 53.

    See Paul Fieldhouse, “Christianity Death Rituals and Ceremonies,” in Food, Feasts, and Faith. An Encyclopaedia of Food Cultures in World Religions, ed. Paul Fieldhouse (Santa Barbara: ABC-Clio, 2017), 147 (Fieldhouse 2017).

  54. 54.

    See the catalogue edited by Mihai Oroveanu, Horia Bernea 1938–2000 (Bucureṣti: Noi Media Print, 2007) (Oroveanu 2007).

  55. 55.

    Gabriela Cristea and Simina Radu-Bucurenci, “Raising the Cross: Exorcising Romania’s Communist Past in Museums, Memorials and Monuments,” in Past for the Eyes: Cinema and Museums in Representing Communism in Eastern Europe after 1989, eds. Oksana Sarkisova and Péter Apor (Budapest: Central European University Press, 2008), 298 (Cristea and Radu-Bucurenci 2008).

  56. 56.

    Horia Bernea quoted in Cristea and Radu-Bucurenci, “Raising the Cross”, 289.

  57. 57.

    Roland Clark, Holly Legionary Youth: Fascist Activism in Interwar Romania (Ithaca: Cornell University Press, 2015), 132 (Clark 2015).

  58. 58.

    Cristea and Radu-Bucurenci, “Raising the Cross”, 289.

  59. 59.

    For an overview of Ion Grigorescu’s artistic production, see Alina Șerban, Ion Grigorescu: Omul cu o Singură Cameră / The Man with a Single Camera (Berlin: Sternberg Press, 2013) (Șerban 2013).

  60. 60.

    Anders Kreuger, “Ion Grigorescu: My Vocation is Classical, Even Bucolic,” Afterfall 41 (2016): 24 (Kreuger 2016).

  61. 61.

    Magda Radu, “Mărturii XXI—Ion Grigorescu.” Video interview with Ion Grigorescu, concept by Aurora Kiraly and Iosif Kiraly, 2012. Minute 52.20. https://www.youtube.com/. Available at: https://www.youtube.com/watch?v=UNmjf3yWIJ8 (28 February 2020) (Radu 2012).

  62. 62.

    Ibidem.

  63. 63.

    See for example, Ion Grigorescu, “Politics, Religion and Art Facing Crime” (Bucharest: Galeriile Catacomba—Fundația Anastasia a Muzeului Național de Artă a României [Anastasia Foundation of the National Art Museum of Romania], 1992) (Grigorescu 1992).

  64. 64.

    Ibidem.

  65. 65.

    See the documentary “Artistul Ion Grigorescu de la Arta Contemporana la Iconografia Crestină” [The artist Ion Grigorescu from Contemporary art to Christian Iconography]. Lumină din Icoană [The Light from Icon], Trinitas TV, 17 January 2018. Available at: https://www.youtube.com/watch?v=eqHfT2VZIm0. (11 January 2020) (Grigorescu 2018).

  66. 66.

    Ibidem.

  67. 67.

    Ibidem.

  68. 68.

    Ibidem.

  69. 69.

    Petre Mihai Băcanu, “Sorin Dumitrescu la 65 de ani: ‘Am fost păcălit aproape 20 de ani’” [I was cheated for almost 20 years]. Parohia “Sf. Nectarie Taumaturgul”—Coslada (Spania [Spain]), 18 March 2011. https://www.sfnectariecoslada.ro/. Available at: https://www.sfnectariecoslada.ro/2011/03/18/sorin-dumitrescu-la-65-de-ani-%E2%80%9Cam-fost-pacalit-aproape-20-de-ani%E2%80%9D/ (2 January 2020) (Băcanu 2011).

  70. 70.

    Ibidem.

  71. 71.

    Rosetti and Roibu, “Constantin Flondor: Toată viața mea a fost o lecție de pictură.”

  72. 72.

    Ibidem.

  73. 73.

    Caterina Preda, Art & Politics under Modern Dictatorships: A Comparison of Chile and Romania (Cham: Palgrave Macmillan, 2017), 258.

  74. 74.

    Cârneci, Artele Plastice în România, 134.

  75. 75.

    For a detailed account of the investiture ceremony, see Lucian Boia, Romania, Borderland of Europe (London: Reaktion Books, 2001), 129 and Vladimir Tismiineanu, “Byzantine Rites, Stalinist Follies: The Twilight of Dynastic Socialism in Romania,” Orbis 30(1) (1986): 65–90.

  76. 76.

    For a detailed account on Romanian protochronist theory see: Robert Adam, Două Veacuri de Populism Românesc [Two Centuries of Romanian Populism] (Bucureṣti: Humanitas, 2018); Ilie Bădescu, Sincronism European ṣi Cultura Critică Românească [European Synchronism and Romanian Critical Culture] (Bucureṣti: Editura Ṣtiinṭifică ṣi Enciclopedică, 1984); Kathrine Verdery, National Ideology Under Socialism: Identity and Cultural Politics in Ceausescu’s Romania (Berkeley: University of California Press, 1995), especially Chap. 5, 167–209; Eugen Negrici, Iluziile Literaturii Române [The Illusions of Romanian Literature] (Bucureṣti: Editura Cartea Româneasca, 2008).

  77. 77.

    See Medeea Stan, “Interviu Călin Dan, Directorul Muzeului Naṭional de Artă Contemporană: În Noaptea Cutremurului din ’77 am Ajutat la Degajare” [Interview with Călin Dan, the Director of the National Museum of Contemporary Art: In the Night of the Earthquake in ’77 I helped to Clean Up]. Adevărul, 30 November 2019. https://adevarul.ro/. https://adevarul.ro/cultura/arte/interviu-calin-dan-directorul-muzeului-national-arta-contemporana-In-noaptea-cutremurului-77-ajutat-degajare-1_5ddfe66e5163ec427181a942/index.html (10 January 2020) (Stan 2019).

  78. 78.

    Ibidem.

  79. 79.

    Ibidem.

  80. 80.

    Christian Paraschiv (one of the founding members of the Prolog) pointed out during an interview with Medeea Stan that actually the Neo-Byzantine artists were allowed to depict churches under certain conditions (e.g. the cross on the roof to be invisible). See Medeea Stan, “Interviu Christian Paraschiv, artist vizual: ‘În Occident, a trebuit să încep prin a înțelege sistemul: ce este un cont bancar, ce sunt impozitele’” [Interview with the Visual Artist Constantin Flondor: ‘In the West, I had to start by understanding the System: What is a Bank Account, what are the Taxes’]. Adevarul, 24 June 2017. https://adevarul.ro/. Available at: https://adevarul.ro/cultura/arte/interviu-christian-paraschiv-artist-vizual-In-occident-trebuit-incep-intelege-sistemul-cont-bancar-impozitele-1_594dea4d5ab6550cb87898fb/index.html. (5 January 2020) (Stan 2017).

  81. 81.

    Edgar Papu, “Protocronismul Românesc” [Romanian Prothocronism], Secolul XX 5–6 (1974): 8–11 (Papu 1974).

  82. 82.

    See for example Constantin Prut’s entry on “Sorin Dumitrescu” in Dictionar de Artă Modernă ṣi Contemporană [Modern and Contemporary Art Dictionary], ed. Constantin Prut (Iaṣi: Polirom, 2016) (Prut 2016) and Sabina Crisen, “National Identity and Cultural Self-Definition: Modern and Post Modern Artistic Expression,” East European Studies 55: 16–17 (1999). Available at: https://www.wilsoncenter.org/sites/default/files/media/documents/publication/CRISEN55.pdf (28 February 2020) (Crisen 1999).

  83. 83.

    For a detailed exploration of religion as a form of spiritual security, see Anna Ozhiganova, “Spiritual and Moral Education in Russian Public Schools: Constructing a Neo-Traditionalist Identity,” FIRE: Forum for International Research in Education 5(1) (2019): 107–125.

  84. 84.

    Idem., 110.

  85. 85.

    Ibidem.

  86. 86.

    Alice Mocănescu, “National Art as Legitimate Art: National between Tradition and Ideology in Ceausescu’s Romania.” Paper presented at the conference ‘The Contours of Legitimacy in Central Europe: New Approaches in Graduate Studies’, European Studies Centre, St. Antony’s College, Oxford. Available at: http://users.ox.ac.uk/~oaces/conference/papers/Alice_Mocanescu.pdf. (10 January 2020).

  87. 87.

    See Umberto Eco, The Limits of Interpretation (Bloomington: Indiana University Press, 1994).

  88. 88.

    Alina Hambaras, “Studiu de Caz: Grupul Prolog”. n.a. https://www.academia.edu. Available at: https://www.academia.edu/37681832/Studiu_de_caz_grupul_Prolog.docx. (29 December 2019) (Hambaras n.a.)

  89. 89.

    Mihai Sârbulescu cited in Hambaras n.a., 52.

  90. 90.

    Andrei Pleșu on Fundaṭia Anastasia’s blog http://www.anastasiaonline.ro/blog/2018/01/30/fundatia-anastasia/ (20 December 2019)

  91. 91.

    Lavinia Stan and Lucian Turcescu, Religion and Politics in Post-Communist Romania (New York: Oxford University Press, 2007), 124.

  92. 92.

    Constantin Galeriu on Fundaṭia Anastasia’s blog http://www.anastasiaonline.ro/blog/2018/01/30/fundatia-anastasia/ (20 December 2019)

  93. 93.

    Hans Georg Gadamer, Truth and Method (London: Bloomsbury Press, 2013).

  94. 94.

    Hambaras, “Studiu de Caz: Grupul Prolog,” 51.

  95. 95.

    Adrian Guță, “Notes on the Romanian Arts of the 90’s.” Moscow Art Magazine 22 (1998). Available at: http://old.guelman.ru/xz/english/XX22/X2219.HTM (29 December 2019).

  96. 96.

    See more on this debate: Megan Gambino, “Ask an Expert: What is the Difference Between Modern and Postmodern Art?,” Smithsonian Magazine, 22 September 2011. https://www.smithsonianmag.com/. Available at: https://www.smithsonianmag.com/arts-culture/ask-an-expert-what-is-the-difference-between-modern-and-postmodern-art-87883230/. (23 December 2019).

  97. 97.

    See Ioana Malamen’s interview with Sorin Dumitrescu: “Actul de a face icoane este un act neuman” [The Act of Making Icons is a Non-human Act]. Ziua 3166, 8 November 2004. http://www.ziua.ro/index.php. Available at: http://www.ziua.ro/display.php?data=2004-11-08&id=161929 (28 February 2020).

  98. 98.

    Ibidem.

  99. 99.

    Ibidem.

  100. 100.

    Oana Tănase, “Interview with Constantin Flondor,” min. 46:40.

  101. 101.

    Ibidem.

  102. 102.

    Dust Magazine Online, http://dustmagazine.com/blog/?p=9766 (23 September2018).

  103. 103.

    Cătălin Davidescu, “Constantin Flondor.”

  104. 104.

    Andrei Pleșu cited in Victor Neumann, Between Words and Reality: Studies on the Politics of Recognition and the Changes of Regime in Contemporary Romania (Washington: The Council for Research in Values and Philosophy, 2000), 47.

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    Maria Alina Asavei

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Asavei, M.A. (2020). Religion Inspired Art and Politics: Neo-Orthodoxism as Neo-Traditionalism?. In: Art, Religion and Resistance in (Post-)Communist Romania. Modernity, Memory and Identity in South-East Europe. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-56255-7_8

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