{"id":632,"date":"2013-11-27T10:53:55","date_gmt":"2013-11-27T10:53:55","guid":{"rendered":""},"modified":"2020-04-06T22:05:27","modified_gmt":"2020-04-06T20:05:27","slug":"identifikimi-i-objekteve-te-vjedhura-botuar-te-gazeta-shqiptare-dt-22-nentor-2013-me-titullin-ikonat-e-sekuestruara-u-moren-ne-kishen-e-spilese","status":"publish","type":"post","link":"https:\/\/orthodoxalbania.org\/2020\/2013\/11\/27\/identifikimi-i-objekteve-te-vjedhura-botuar-te-gazeta-shqiptare-dt-22-nentor-2013-me-titullin-ikonat-e-sekuestruara-u-moren-ne-kishen-e-spilese\/","title":{"rendered":"Identifikimi i objekteve t\u00eb vjedhura – Botuar te Gazeta Shqiptare, dt. 22 n\u00ebntor 2013, me titullin \u201cIkonat e sekuestruara u mor\u00ebn n\u00eb kish\u00ebn e Spiles\u00eb."},"content":{"rendered":"
\n\tIdentifikimi i objekteve t\u00eb vjedhura
\n\tPjesa I: Ikonostasi i Spiles\u00eb (shek. XVII)
\n\tNga Dr. Konstantinos Giakoumis<\/p>\n

\tBotuar te Gazeta Shqiptare, dt. 22 n\u00ebntor 2013,
\n\tme titullin \u201cIkonat e sekuestruara u mor\u00ebn n\u00eb kish\u00ebn e Spiles\u00eb.<\/span><\/span><\/strong><\/span>
\n\t <\/div>\n

\n\t
\n\t<\/span><\/span><\/strong>    Me rastin e zbulimit t\u00eb nj\u00eb s\u00ebr\u00eb veprash arti t\u00eb vjedhura nga kisha t\u00eb ndryshme ortodokse t\u00eb Shqip\u00ebris\u00eb s\u00eb jugut dhe t\u00eb Maqedonis\u00eb, \u00e7\u00ebshtja e mbrojtjes s\u00eb trash\u00ebgimis\u00eb kulturore diskutohet n\u00eb baz\u00eb t\u00eb re. Sipas mendimit tim, vjedhja e veprave t\u00eb artit p\u00ebrb\u00ebn nj\u00eb lloj idiosinkratik krimi.<\/span><\/span><\/span><\/div>\n
\n\t
\n\t    S\u00eb pari, sepse shk\u00ebput nj\u00eb vep\u00ebr arti nga komuniteti, i cili e krijoi dhe e mbrojti brez pas brezi. N\u00eb rastin konkret, t\u00eb veprave q\u00eb po prezantohen k\u00ebtu [Fig. A dhe B], ruajtja e tyre n\u00eb manastirin e Lindjes s\u00eb Sh\u00ebn M\u00ebris\u00eb t\u00eb Spiles\u00eb n\u00eb Lunxh\u00ebri, zgjati p\u00ebr afro 400 vjet, para se t\u00eb vidhen. Pra, kemi t\u00eb b\u00ebjm\u00eb me nj\u00eb lloj vjedhjeje jo t\u00eb zakont\u00eb. Nd\u00ebrsa n\u00eb nj\u00eb vjedhje t\u00eb zakonshme ka nj\u00eb ose m\u00eb shum\u00eb hajdut\u00eb dhe zakonisht nj\u00eb t\u00eb vjedhur, n\u00eb rastin e vjedhjes s\u00eb veprave t\u00eb trash\u00ebgimis\u00eb kulturore nga komuniteti i tyre, t\u00eb vjedhurit jan\u00eb breza t\u00eb t\u00ebr\u00eb paraardh\u00ebsish, si edhe komuniteti i gjall\u00eb.<\/span><\/span><\/span><\/div>\n
\n\t
\n\t    S\u00eb dyti, sepse \u00e7do vjedhje e veprave t\u00eb artit nga monumentet e tyre p\u00ebrforcon mendimin se komunitetet e kan\u00eb t\u00eb pamundur t\u00eb mbrojn\u00eb trash\u00ebgimin\u00eb e tyre kulturore, edhe pse e kan\u00eb b\u00ebr\u00eb n\u00ebp\u00ebr shekuj. Ky mendim \u00e7on, sigurisht, drejt objektivizimit dhe kthimit t\u00eb veprave t\u00eb artit n\u00eb objekte muzeore, n\u00eb m\u00eb t\u00eb shumt\u00ebn e rasteve, duke i larguar nga vendi ku jetonin prej shekujsh bashk\u00eb me komunitetin e tyre.<\/span><\/span><\/span><\/div>\n
\n\t
\n\t    S\u00eb treti, sepse pasurimi i p\u00ebrkohsh\u00ebm i hajdutit privon komunitetin e vepr\u00ebs s\u00eb vjedhur t\u00eb artit nga nj\u00eb mund\u00ebsi zhvillimi p\u00ebrmes turizmit ekokulturor. I till\u00eb \u00ebsht\u00eb rasti i vjedhjes s\u00eb epistilit me ikona t\u00eb vogla t\u00eb ikonostasit t\u00eb manastirit t\u00eb Sh\u00ebn M\u00ebris\u00eb s\u00eb Spiles\u00eb n\u00eb Lunxh\u00ebri, t\u00eb cilin e prezantoj k\u00ebtu [krahaso Fig. A dhe B me Fig.2, 7 dhe 8].<\/span><\/span><\/span><\/div>\n
\n\t
\n\tQ\u00ebllimi i artikullit nuk kufizohet vet\u00ebm n\u00eb sensibilizimin e publikut mbi vlerat e nj\u00ebr\u00ebs prej veprave t\u00eb vjedhura. Por ai shkon m\u00eb tej, n\u00eb shpres\u00ebn se hetimet e prokuroris\u00eb do t\u00eb zgjerohen edhe n\u00eb vendet e prejardhjes s\u00eb k\u00ebtyre objekteve, aty, t\u00eb pakt\u00ebn, ku identifikimi i tyre \u00ebsht\u00eb i mundsh\u00ebm, me synim zb\u00ebrthimin e t\u00ebr\u00eb hallkave t\u00eb rrjetit t\u00eb vjedhjes dhe trafikimit t\u00eb veprave t\u00eb artit q\u00eb nga burimi, me lidhjet e tij t\u00eb mundshme me individ\u00eb brenda komunitetit. N\u00eb rastin q\u00eb trajtohet k\u00ebtu b\u00ebhet fjal\u00eb p\u00ebr fshatrat Saraqinisht\u00eb dhe Tranosisht\u00eb, prej t\u00eb cil\u00ebve u shk\u00ebput\u00ebn disa thesare t\u00eb trash\u00ebgimis\u00eb s\u00eb tyre kulturore. Nj\u00eb nga objektet t\u00eb cilat policia e shtetit, krenare p\u00ebr arritjen e saj, e shtriu n\u00eb m\u00ebnyr\u00eb t\u00eb trishtueshme p\u00ebrtok\u00eb n\u00eb Galerin\u00eb e Arteve t\u00eb Tiran\u00ebs para disa dit\u00ebsh, sipas vler\u00ebsimit tim, bazuar vet\u00ebm n\u00eb pik\u00ebpamje filmike t\u00eb nj\u00eb kanali t\u00eb madh privat televiziv [Fig. A dhe B], mund t\u2019i atribuohet pjes\u00ebs s\u00eb sip\u00ebrme t\u00eb ikonostasit (epistilit) me ikona t\u00eb vogla nga manastiri i Lindjes s\u00eb Sh\u00ebn M\u00ebris\u00eb, i ashtuquajturi \u201ci Spiles\u00eb\u201d n\u00eb Lunxh\u00ebri [krahaso Fig. A dhe B me Fig.2, 7 dhe 8].<\/span><\/span><\/span><\/div>\n
\n\t
\n\t    Manastiri i Spiles\u00eb ndodhet n\u00eb lindje t\u00eb fshatit Tranosisht\u00eb t\u00eb Lunxh\u00ebris\u00eb (Gjirokast\u00ebr), gjysm\u00eb ore me k\u00ebmb\u00eb larg tij. Manastiri \u00ebsht\u00eb nd\u00ebrtuar pran\u00eb masiveve shk\u00ebmbore t\u00eb skalitur n\u00eb form\u00eb shpellash. Prej k\u00ebtyre shpellave, t\u00eb cilat p\u00ebrdoreshin prej heremit\u00ebve si vend lutjeje dhe ushtrimi shpirt\u00ebror, manastiri mori emrin \u201ci Sh\u00ebn M\u00ebris\u00eb s\u00eb Spiles\u00eb\u201d. Manastiri feston n\u00eb Lindjen e Sh\u00ebn M\u00ebris\u00eb (8 shtator) dhe u krijua n\u00eb fillim t\u00eb shek. XVII. Q\u00eb at\u00ebkoh\u00eb e deri m\u00eb 1924, ky manastir ka g\u00ebzuar statusin stravropigjik dhe patriarkal. Me gjith\u00eb vendimet e p\u00ebrkohshme dhe t\u00eb kund\u00ebrta, manastiri ka qen\u00eb eksarki patriarkale bashk\u00eb me fshatrat p\u00ebrreth nga fillimi i shek. XVII gjer m\u00eb 1880. Ky status ishte i privilegjuar dhe i jepte manastirit dhe eksarkis\u00eb s\u00eb tij nj\u00eb form\u00eb autonomie nga autoriteti vendor kishtar p\u00ebrmes vart\u00ebsis\u00eb s\u00eb tij drejtp\u00ebrdrejt nga Patrikana e Stambollit. Vlen t\u00eb p\u00ebrmendet se, sipas Pukevilit (Pouqueville), banor\u00ebt e Lunxh\u00ebris\u00eb mbaheshin p\u00ebr si inxhinier\u00eb t\u00eb zot\u00eb uj\u00ebmbledh\u00ebsish, t\u00eb cil\u00ebt, sipas traditave lunxhjote t\u00eb regjistruara prej Pukevilit, mburreshin p\u00ebr punimet e tyre t\u00eb lasht\u00eb n\u00eb Stimfali (Korinth) dhe Stambol. Mandej, Pukevili p\u00ebrmend se inxhinier\u00ebt e sistemeve hidraulike prej Lunxh\u00ebris\u00eb, ishin kaq t\u00eb famshme p\u00ebr pun\u00ebt e tyre, sa t\u00eb marrin nj\u00eb firman n\u00eb vitin H 1119 (1707\/8).<\/span><\/span><\/span><\/div>\n
\n\t
\n\t    Kisha qendrore e manastirit (katholikoni) i p\u00ebrket tipit kryq i brendashkruar me absida an\u00ebsore (varianti i Malit t\u00eb Shenjt\u00eb, Athos) [Fig. 1]. Studimi i arkitektur\u00ebs s\u00eb tij tregon se \u00ebsht\u00eb nd\u00ebrtuar para vitit 1623 nga t\u00eb nj\u00ebjt\u00ebt mjesht\u00ebr q\u00eb nd\u00ebrtuan edhe kish\u00ebn e Sh\u00ebn Kollit n\u00eb Saraqinisht\u00eb, Lunxh\u00ebri. Kemi t\u00eb b\u00ebjm\u00eb me nj\u00eb grup mjesht\u00ebrish t\u00eb aktivizuar n\u00eb rajon gjat\u00eb viteve 1620-1630. Kisha ka pasur d\u00ebmtime dhe mb\u00ebshtetej me skela druri t\u00eb pakt\u00ebn deri n\u00eb vitin 1997. N\u00eb brend\u00ebsi, kisha \u00ebsht\u00eb t\u00ebr\u00ebsisht e pikturuar me afreske. Naosi u pikturua m\u00eb 1634 \u201cp\u00ebrmes dor\u00ebs s\u00eb Mihailit nga Linotopi\u201d, qytez\u00eb vlleh\u00ebsh me atelie t\u00eb shumta artistike n\u00eb shek. XVI-XVIII, e cila ndoqi nga af\u00ebr fatin e Voskopoj\u00ebs, vet\u00ebm se edhe sot \u00ebsht\u00eb e pabanuar. Narteksi u pikturua m\u00eb 1659 nga piktor\u00eb t\u00eb panjohur, dhe ka ngjashm\u00ebri ikonografike dhe stilistike me afresket e faz\u00ebs s\u00eb dyt\u00eb t\u00eb manastirit t\u00eb Ravenj\u00ebs, n\u00eb Goranxi t\u00eb Dropullit, Gjirokast\u00ebr.<\/span><\/span><\/span><\/div>\n
\n\t
\n\tIkonostasi (ikon\u00ebmbajt\u00ebsi) i kish\u00ebs [Fig. 2 krahasuar me Fig. A] n\u00eb vitin 1997 paraqitej i zhveshur nga dyert e bukura, nga ikonat e m\u00ebdha, ikonat e Dymb\u00ebdhjet\u00eb Festave n\u00eb pjes\u00ebn e ep\u00ebrme t\u00eb ikonostasit, si edhe nga Krishti i kryq\u00ebzuar n\u00eb maj\u00ebn e ikonostasit. K\u00ebto vepra ruheshin n\u00eb Institutin e Monumenteve n\u00eb Tiran\u00eb me numra rendore 176, 574, 154, 715-721 dhe 725-726. Ikonostasi ndahej n\u00eb tri zona, m\u00eb e ul\u00ebta prej t\u00eb cilave mbartte panele t\u00eb lug\u00ebta n\u00eb form\u00eb tr\u00ebndafili t\u00eb brendashkruar n\u00eb rombe tet\u00ebbrinj\u00ebsh, me an\u00ebt e sip\u00ebrme dhe t\u00eb poshtme n\u00eb form\u00eb harku. N\u00eb t\u00eb kat\u00ebrta k\u00ebndet panelet dekorative mbartin zbukurime floreale. N\u00eb zon\u00ebn e dyt\u00eb, shtyllat zbukurohen me element\u00eb bimore, n\u00eb an\u00ebt e t\u00eb cilave formohen bime kacavjerr\u00ebse. Pjesa e ep\u00ebrme e shtyllave kuror\u00ebzohet me pseudokapitele. N\u00eb pjes\u00ebn mbi shtyllat (epistil) t\u00eb b\u00ebjn\u00eb p\u00ebrshtypje guaskat e mir\u00ebformuara, t\u00eb cilat rrethojn\u00eb nj\u00eb lule n\u00eb qendr\u00ebn e tyre dhe mb\u00ebshteten n\u00eb korniza t\u00eb skalitura n\u00eb form\u00eb bime kacavjerr\u00ebse me lule n\u00eb qend\u00ebr. Skalitja e ikonostasit paraqet ngjashm\u00ebri me dyert e bukura t\u00eb manastirit t\u00eb Makryaleksit t\u00eb Lavdhanit, Pogon (1592\/3), t\u00eb cil\u00ebt ndodhen sot n\u00eb Muzeun Bizantin t\u00eb Janin\u00ebs. Pjes\u00ebt midis guaskave plot\u00ebsohen me zbukurime floreale dhe bimore, nd\u00ebrsa hap\u00ebsirat jan\u00eb pikturuar n\u00eb ngjyr\u00eb t\u00eb kuqe dhe blu. N\u00eb m\u00ebnyr\u00eb par\u00ebsore, hap\u00ebsirat mbulohen me panele t\u00eb lug\u00ebta dhe t\u00eb zgjatura vertikalisht, prej t\u00eb nj\u00ebjtit dru t\u00eb ikonostasit, maja e t\u00eb cilave p\u00ebrfundon me nj\u00eb hark. K\u00ebto panele jan\u00eb t\u00eb pikturuara. \u00cbsht\u00eb pik\u00ebrisht kjo zon\u00eb, t\u00eb cil\u00ebn ma zuri syri n\u00eb ekspozimin e objekteve t\u00eb vjedhura. Pjesa e sip\u00ebrme e epistilit \u00ebsht\u00eb e skalitur n\u00eb form\u00eb bime kacavjerr\u00ebse. I nj\u00ebjti rend zbukurimor ndiqet edhe n\u00eb pjes\u00ebn m\u00eb t\u00eb lart\u00eb t\u00eb ikonostasit, ku guaskat jan\u00eb m\u00eb t\u00eb vogla dhe s\u2019len\u00eb hap\u00ebsir\u00eb p\u00ebr ikona.<\/span><\/span><\/span><\/div>\n
\n\t
\n\t    Struktura e ikonostasit \u00ebsht\u00eb e ngjashme me ikonostase nga Thesalia, Maqedonia dhe Serbia jugore t\u00eb shek. XVI \u2013 fillim shek. XVII, nd\u00ebrsa zona e dyfisht\u00eb e guaskave, edhe pse m\u00eb pak t\u00eb stilizuara, paraqitet n\u00eb ikonostase nga Kreta qysh prej shek. XV. Guaska, si zbukurim, e ka prejardhjen qysh nga periudha paleokristiane dhe, n\u00eb periudh\u00ebn nga shek. XV-XVII, paraqitet n\u00eb ikonostase n\u00eb ishullin e Patmos, n\u00eb Dymb\u00ebdhjet\u00eb Ishujt e Egjeut edhe n\u00eb Epir – Shqip\u00ebri. Ngjyrosja e hap\u00ebsirave bosh edhe mbilyerja me boj\u00eb ari paraqitet shpesh n\u00eb ikonostase t\u00eb shek. XV-XVII. Tiparet e ikonostasit e klasifikojn\u00eb at\u00eb t\u00eb nj\u00eb tipi tranzicional, nga tipi A (shek. XV-XVII), n\u00eb tipin B (gjysma e shek. XVII-fillimi i shek, XVIII) sipas tipologjis\u00eb s\u00eb studiuesit t\u00eb shquar t\u00eb ikonostaseve, Caparlis-it. K\u00ebto elemente, bashk\u00eb me datimin e kish\u00ebs dhe t\u00eb ikonave t\u00eb vogla t\u00eb epistilit, na lejojn\u00eb q\u00eb ikonostasin dhe ikonat e tij t\u2019ia atribuojm\u00eb atelies\u00eb s\u00eb piktor\u00ebve nga Linotopi, me shum\u00eb p\u00ebrvoj\u00eb pamore edhe jasht\u00eb Epirit \u2013 Shqip\u00ebris\u00eb, dhe na \u00e7ojn\u00eb n\u00eb datimin e ikonostasit dhe t\u00eb ikonave t\u00eb vogla rreth vitit 1620. K\u00ebt\u00eb datim e mb\u00ebshtesin edhe ikonostaset shum\u00eb t\u00eb ngjashme t\u00eb manastirit t\u00eb Ravenj\u00ebs, Dropull [Fig. 3], t\u00eb manastirit t\u00eb Ungjill\u00ebzimit n\u00eb Dropull dhe atij t\u00eb Drenov\u00ebs n\u00eb Mingul t\u00eb Lunxh\u00ebris\u00eb [Fig. 4].<\/span><\/span><\/span><\/div>\n
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\n\t    Panelet e lug\u00ebta n\u00eb vet\u00eb drurin e ikonostasit (p\u00ebrmasa t\u00eb p\u00ebraf\u00ebrta: 17 x 11 cm), q\u00eb ndodhen midis guaskave t\u00eb epistilit, kan\u00eb t\u00eb pikturuar, mbi nj\u00eb n\u00ebnshtres\u00eb gipsi me p\u00eblhur\u00eb, tet\u00eb profet\u00eb [Fig. 5-12]. N\u00eb m\u00ebnyr\u00eb em\u00ebrore, nga djathtas deri majtas, pikturohen me trup t\u00eb plot\u00eb profet\u00ebt: Isaia, Abakumi, Danieli, Moisiu, Davidi, Solomoni, Jezekieli dhe Jeremia. Ikonat e vogla, n\u00eb vija t\u00eb p\u00ebrgjithshme, nuk kishin p\u00ebsuar d\u00ebmtime t\u00eb r\u00ebnda n\u00eb vitin 1997, kur e vizitova manastirin. Megjithat\u00eb, dalloheshin qart\u00eb shenjat e nd\u00ebrhyrjes s\u00eb nj\u00eb dore jo mjesht\u00ebrore, e cila rreth shek. XIX-XX mbipikturoi (d.m.th. pikturoi p\u00ebrmbi piktur\u00ebn ekzistuese) nj\u00eb pjes\u00eb t\u00eb rrobave. Kjo dallohet m\u00eb mir\u00eb tek profet\u00eb-mbret\u00ebrit David dhe Solomon [Fig. 9-10], lorus-et (pjes\u00eb e rrobave perandorake) mbret\u00ebrore t\u00eb t\u00eb cil\u00ebve, q\u00eb nj\u00eb koh\u00eb, me siguri, ishin t\u00eb ngjyrosur me boj\u00eb ari, mezi dalloheshin posht\u00eb ngjyr\u00ebs s\u00eb kuqe t\u00eb unifikuar, me t\u00eb cil\u00ebn u mbuluan si ato, ashtu edhe hiton\u00ebt dhe veshjet e tjera t\u00eb tyre. Fatmir\u00ebsisht, nd\u00ebrhyrjet nuk e prishin pamjen e p\u00ebrgjithshme t\u00eb ikonave t\u00eb vogla dhe lejuan studimin e tyre pa nevoj\u00ebn e nj\u00eb restaurimi paraprak.<\/span><\/span><\/span><\/div>\n
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\n\t    Pes\u00eb nga profet\u00ebt mbajn\u00eb n\u00eb duar rrotulla t\u00eb shkruara me tekste q\u00eb lidhen me Sh\u00ebn M\u00ebrin\u00eb, nd\u00ebrsa tre t\u00eb tjer\u00ebt me Krishtin. Gjasht\u00eb prej k\u00ebtyre shkrimeve propozohen nga Manuali i Interpretimit t\u00eb Artit Bizantin p\u00ebr sken\u00ebn \u201cProfet\u00ebt q\u00eb lartazi\u201d. Si rrjedhoj\u00eb, ikonat e vogla, n\u00eb t\u00ebr\u00ebsin\u00eb e tyre, mund t\u00eb konsiderohen si paraqitje e p\u00ebrmbledhur e k\u00ebsaj teme.<\/span><\/span><\/span><\/div>\n
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\n\t    Me gjith\u00eb p\u00ebrmasat e vogla t\u00eb paneleve, dizenjimi i ikonave \u00ebsht\u00eb m\u00ebtues dhe p\u00ebrgjith\u00ebsisht i mir\u00eb. Profet\u00ebt nuk pikturohen n\u00eb m\u00ebnyr\u00eb ballore, si\u00e7 ndoshta do t\u00eb ishte m\u00eb e leht\u00eb p\u00ebr piktorin, por me l\u00ebvizje t\u00eb gjalla ose t\u00eb vrullshme dhe gjeste t\u00eb forta. Analiza e kujdesshme tregon edhe dob\u00ebsit\u00eb e pakta t\u00eb dizenjimit: koka proporcionalisht m\u00eb t\u00eb vogla, si tek profeti Moisi [Fig. 8], m\u00eb pak te Abakumi [Fig. 6] dhe Solomoni [Fig. 10], gjetiu qaf\u00eb t\u00eb trash\u00eb (Abakumi), ose shum\u00eb t\u00eb holl\u00eb dhe t\u00eb gjat\u00eb, si Jeremia [Fig. 12] dhe Moisiu, ose thuajse pa qaf\u00eb fare, si Jezekieli [Fig. 11] dhe Isaia [Fig. 5]). Paraqitja e l\u00ebvizjes me dis-harmoni t\u00eb pjes\u00ebve t\u00eb trupit, si disproporcionaliteti i k\u00ebmb\u00ebve me tendenc\u00eb p\u00ebrkuljeje p\u00ebrpara (m\u00eb e dukshme te Jezekieli), disnivelimi i syve, shtremb\u00ebrimi i trupave dhe i kokave, e ka origjin\u00ebn nga koha e Paleolog\u00ebve dhe trash\u00ebgohet edhe n\u00eb shkoll\u00ebn epirote t\u00eb piktur\u00ebs. Palat e rrobave b\u00ebhen kryesisht p\u00ebrmes dizenjimit, me vija t\u00eb m\u00ebdha ose m\u00eb t\u00eb vogla, q\u00eb ndjekin n\u00eb m\u00ebnyr\u00eb t\u00eb p\u00ebraf\u00ebrt p\u00ebrkuljen e trupit. Dizenjimi paraqet nj\u00eb p\u00ebrqasje plasticiteti dhe dramaticiteti.<\/span><\/span><\/span><\/div>\n
\n\t
\n\t    Vihen re tri m\u00ebnyra ndri\u00e7imi mbi sfondin e but\u00eb dhe me ngjyr\u00eb g\u00ebshtenje t\u00eb err\u00ebt. S\u00eb pari, sfondi parap\u00ebrgatitor i piktur\u00ebs s\u00eb profet\u00ebve Abakum dhe Daniel alternon sip\u00ebrfaqe fort t\u00eb ndri\u00e7uara me penelata t\u00eb nxituar n\u00eb pjes\u00eb t\u00eb jashtme t\u00eb trupit, duke krijuar nj\u00eb kund\u00ebrshti t\u00eb theksuar ngjyrash, me munges\u00ebn e nuancave t\u00eb nd\u00ebrmjetme. K\u00ebto zgjidhje jan\u00eb t\u00eb njohura qysh prej koh\u00ebs s\u00eb Paleolog\u00ebve, mir\u00ebpo k\u00ebtu paraqiten mjaft t\u00eb stilizuara. S\u00eb dyti, sip\u00ebrfaqja e ndri\u00e7uar e profet\u00ebve Moisi, David, Isai, Jezekiel dhe Jeremi krijohet n\u00eb m\u00ebnyr\u00eb t\u00eb stilizuar me penelata t\u00eb holla dhe t\u00eb gjata q\u00eb ndjekin kurbat e trupit, t\u00eb cilat dalin nga sfondi pikturor me nuanca t\u00eb nd\u00ebrmjetme, teknik\u00eb q\u00eb u zhvillua n\u00eb artin e Paleolog\u00ebve dhe u trash\u00ebgua n\u00eb shkollat e Kret\u00ebs n\u00eb shek. XVI, dhe t\u00eb Epirit. S\u00eb treti, n\u00eb paraqitjen e profetit Solomon ndiqet nj\u00eb m\u00ebnyr\u00eb tjet\u00ebr ndri\u00e7imi: sip\u00ebrfaqja e ndri\u00e7uar \u00ebsht\u00eb m\u00eb e gjer\u00eb, me penelata t\u00eb bardha, shum\u00eb t\u00eb stilizuara, t\u00eb cilat ndjekin form\u00ebn e fytyr\u00ebs dhe zgjerohen gjat\u00eb pjes\u00ebs m\u00eb t\u00eb madhe t\u00eb saj. Kjo m\u00ebnyr\u00eb ngjan m\u00eb tep\u00ebr me ikonat e shek. XVI-XVII, si\u00e7 ato paraqiten n\u00eb dyert e bukura t\u00eb manastirit t\u00eb Makryaleksit dhe n\u00eb dy ikona nga ikonostasi i tij. V\u00ebllimet e trupave t\u00eb profet\u00ebve realizohen m\u00eb tep\u00ebr me drit\u00ebhije, nd\u00ebrsa rrudhat me penelata t\u00eb vogla ngjyr\u00ebkafe, t\u00eb alternuara me penelatat e bardha t\u00eb ndri\u00e7imit.<\/span><\/span><\/span><\/div>\n
\n\t
\n\t    Analiza t\u00eb m\u00ebtejshme stilistike nxjerrin n\u00eb pah nj\u00eb s\u00ebr\u00eb ngjashm\u00ebrish me afreske t\u00eb disa monumenteve t\u00eb fillim shekullit XVII, si n\u00eb naosin e vet\u00eb Manastirit t\u00eb Spiles\u00eb, n\u00eb manastirin e Vanistr\u00ebs e Goranxis\u00eb, t\u00eb Profet Ilia, n\u00eb narteksin e manastirit n\u00eb Jorgucat, Dropull, si edhe monumente t\u00eb tjera n\u00eb Greqi, t\u00eb pikturuara prej Mihal Linotopitit. Ngjashm\u00ebrit\u00eb ndeshen n\u00eb konturet e veshjeve edhe t\u00eb v\u00ebllimeve t\u00eb tjera, n\u00eb form\u00ebn e hund\u00ebve, t\u00eb vetullave, t\u00eb syve dhe t\u00eb goj\u00ebve. N\u00eb baz\u00eb t\u00eb k\u00ebtyre elementeve, si edhe dat\u00ebs s\u00eb nj\u00ebr\u00ebs prej ikonave t\u00eb m\u00ebdha t\u00eb ikonostasit, \u00ebsht\u00eb propozuar datimi i ikonave n\u00eb vitin 1623. Atribuimi i tyre si vepra t\u00eb piktorit Mihal nga Linotopi tregon edhe nj\u00eb element tjet\u00ebr t\u00eb historis\u00eb s\u00eb artit t\u00eb shek. XVII n\u00eb trevat ballkanike. Piktor\u00ebt linotopit\u00eb bashk\u00ebpunonin me drugdhend\u00ebs nga po i nj\u00ebjti fshati, n\u00eb m\u00ebnyr\u00eb q\u00eb, gjat\u00eb muajve t\u00eb dimrit, koh\u00eb e pap\u00ebrshtatshme p\u00ebr pikturimin e kishave, p\u00ebr shkak t\u00eb lag\u00ebshtir\u00ebs, t\u00eb mos nd\u00ebrprisnin aktivitetin e tyre artistik. Prandaj edhe ikonostasi u \u00ebsht\u00eb atribuar atelieve linotopite.<\/span><\/span><\/span><\/div>\n
\n\t
\n\t    Integrimi i ikonostasit n\u00eb monumentin ku ndodhej, i pikturuar nga i nj\u00ebjti piktor, \u00ebsht\u00eb i rrall\u00eb. \u00cbsht\u00eb tragjike se pas vjedhjes s\u00eb ikonostasit dhe kthimit t\u00eb tij n\u00eb objekt muzeor pas gjetjes \u2013 nj\u00eb rrug\u00eb aq e trishtueshme, po aq sa, ndoshta, edhe e domosdoshme \u2013 vjedh\u00ebsi i ikonostasit ka qen\u00eb personi i fundit q\u00eb e ka par\u00eb monumentin ashtu si\u00e7 qe ruajtur p\u00ebr afro 400 vjet\u2026<\/span><\/span><\/span><\/div>\n

\n

\t<\/span><\/span><\/span><\/p>\n

\n\t <\/p>\n

\n\tFig. A: Fragment i epistilit t\u00eb ikonostasit t\u00eb manastirit t\u00eb Spiles\u00eb, Tranosisht\u00eb, Lunxh\u00ebri. Imazh nga pamje filmike t\u00eb nj\u00eb televizori privat.<\/strong><\/span><\/span><\/span><\/p>\n

\n\t<\/strong><\/span><\/span><\/span><\/p>\n

\n\t
\n\tFig. B: Detaje t\u00eb epistilit t\u00eb ikonostasit t\u00eb manastirit t\u00eb Spiles\u00eb, Tranosisht\u00eb, Lunxh\u00ebri: Profet\u00ebt Daniel dhe Moisi. Imazh nga pamje filmike t\u00eb nj\u00eb televizori privat.<\/strong><\/span><\/span><\/span><\/p>\n

\n\t <\/p>\n

\n\t<\/strong><\/span><\/span><\/span><\/p>\n

\n\t
\n\tFig. 1: Kisha kryesore e manastirit t\u00eb Lindjes s\u00eb Sh\u00ebn M\u00ebris\u00eb, Tranosisht\u00eb, Lunxh\u00ebri, fillim shek. XVII. Pamje verilindore.<\/strong><\/span><\/span><\/span><\/p>\n

\n\t <\/p>\n

\n\t<\/strong><\/span><\/span><\/span><\/p>\n

\n\t
\n\tFig. 2: Ikonostasi i manastirit t\u00eb Spiles\u00eb, viti 1623. Fotografi nga 1997.<\/strong><\/span><\/span><\/span><\/p>\n

\n\t <\/p>\n

\n\t<\/strong><\/span><\/span><\/span><\/p>\n

\n\t
\n\tFig. 3: Ikonostasi i manastirit t\u00eb Fjetjes s\u00eb Sh\u00ebn M\u00ebris\u00eb Ravenja, Goranxi, Dropull, gjysma e par\u00eb e shek. XVII.<\/strong><\/span><\/span><\/span><\/p>\n

\n\t <\/p>\n

\n\t<\/strong><\/span><\/span><\/span><\/p>\n

\n\t
\n\tFig. 4: Ikonostasi i manastirit t\u00eb Drenov\u00ebs, Mingul, Lunxh\u00ebri, pjesa I e shek. XVII.<\/strong><\/span><\/span><\/span><\/p>\n

\n\t <\/p>\n

\n\t<\/strong><\/span><\/span><\/span><\/p>\n

\n\t
\n\tFig. 5: Mihali nga Linotopi, Profeti Isaia nga ikonostasi i manastirit t\u00eb Spiles\u00eb, Tranosisht\u00eb, Lunxh\u00ebri, gjysma e par\u00eb e shek. XVII.<\/strong><\/span><\/span><\/span><\/p>\n

\n\t <\/p>\n

\n\t<\/span><\/span><\/span><\/p>\n

\n\t
\n\tFig. 6: Po aty, Profeti Abakum.<\/strong><\/span><\/span><\/span><\/p>\n

\n\t <\/p>\n

\n\t<\/strong><\/span><\/span><\/span><\/p>\n

\n\t
\n\tFig. 7: Po aty, Profeti Daniel.<\/strong><\/span><\/span><\/span><\/p>\n

\n\t <\/p>\n

\n\t<\/strong><\/span><\/span><\/span><\/p>\n

\n\t
\n\tFig. 8: Po aty, Profeti Moisi.<\/strong><\/span><\/span><\/span><\/p>\n

\n\t <\/p>\n

\n\t<\/strong><\/span><\/span><\/span><\/p>\n

\n\t
\n\tFig. 9: Po aty, Profeti David.<\/strong><\/span><\/span><\/span><\/p>\n

\n\t <\/p>\n

\n\t<\/strong><\/span><\/span><\/span><\/p>\n

\n\t
\n\tFig. 10: Po aty, Profeti Solomon.<\/strong><\/span><\/span><\/span><\/p>\n

\n\t <\/p>\n

\n\t<\/strong><\/span><\/span><\/span><\/p>\n

\n\t
\n\tFig. 11: Po aty, Profeti Jezekiel.<\/strong><\/span><\/span><\/span><\/p>\n

\n\t <\/p>\n

\n\t<\/strong><\/span><\/span><\/span><\/p>\n

\n\t
\n\tFig. 12: Po aty, Profeti Jeremi.<\/strong><\/span><\/span><\/span><\/p>\n

\n\t
\n\t <\/p>\n","protected":false},"excerpt":{"rendered":"

Identifikimi i objekteve t\u00eb vjedhura Pjesa I: Ikonostasi i Spiles\u00eb (shek. XVII) Nga Dr. Konstantinos Giakoumis Botuar te Gazeta Shqiptare, dt. 22 n\u00ebntor 2013, me titullin \u201cIkonat e sekuestruara u mor\u00ebn n\u00eb kish\u00ebn e Spiles\u00eb.       Me rastin e zbulimit t\u00eb nj\u00eb s\u00ebr\u00eb veprash arti t\u00eb vjedhura nga kisha t\u00eb ndryshme ortodokse t\u00eb Shqip\u00ebris\u00eb s\u00eb jugut dhe t\u00eb Maqedonis\u00eb, \u00e7\u00ebshtja e mbrojtjes s\u00eb trash\u00ebgimis\u00eb<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"pagelayer_contact_templates":[],"_pagelayer_content":"","inline_featured_image":false,"fifu_image_url":"","fifu_image_alt":"","footnotes":""},"categories":[108],"tags":[141,153,196,212],"class_list":["post-632","post","type-post","status-publish","format-standard","hentry","category-lajme","tag-141","tag-deklarata-njoftime-zyrtare-d75","tag-tirane","tag-lajme-d27"],"acf":[],"yoast_head":"\nIdentifikimi i objekteve t\u00eb vjedhura - Botuar te Gazeta Shqiptare, dt. 22 n\u00ebntor 2013, me titullin \u201cIkonat e sekuestruara u mor\u00ebn n\u00eb kish\u00ebn e Spiles\u00eb. - Kisha Orthodh\u03bfkse Autoqefale e Shqip\u00ebris\u00eb<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/orthodoxalbania.org\/2020\/2013\/11\/27\/identifikimi-i-objekteve-te-vjedhura-botuar-te-gazeta-shqiptare-dt-22-nentor-2013-me-titullin-ikonat-e-sekuestruara-u-moren-ne-kishen-e-spilese\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Identifikimi i objekteve t\u00eb vjedhura - Botuar te Gazeta Shqiptare, dt. 22 n\u00ebntor 2013, me titullin \u201cIkonat e sekuestruara u mor\u00ebn n\u00eb kish\u00ebn e Spiles\u00eb. - Kisha Orthodh\u03bfkse Autoqefale e Shqip\u00ebris\u00eb\" \/>\n<meta property=\"og:description\" content=\"Identifikimi i objekteve t\u00eb vjedhura Pjesa I: Ikonostasi i Spiles\u00eb (shek. XVII) Nga Dr. Konstantinos Giakoumis Botuar te Gazeta Shqiptare, dt. 22 n\u00ebntor 2013, me titullin \u201cIkonat e sekuestruara u mor\u00ebn n\u00eb kish\u00ebn e Spiles\u00eb.       Me rastin e zbulimit t\u00eb nj\u00eb s\u00ebr\u00eb veprash arti t\u00eb vjedhura nga kisha t\u00eb ndryshme ortodokse t\u00eb Shqip\u00ebris\u00eb s\u00eb jugut dhe t\u00eb Maqedonis\u00eb, \u00e7\u00ebshtja e mbrojtjes s\u00eb trash\u00ebgimis\u00eb\" \/>\n<meta property=\"og:url\" content=\"https:\/\/orthodoxalbania.org\/2020\/2013\/11\/27\/identifikimi-i-objekteve-te-vjedhura-botuar-te-gazeta-shqiptare-dt-22-nentor-2013-me-titullin-ikonat-e-sekuestruara-u-moren-ne-kishen-e-spilese\/\" \/>\n<meta property=\"og:site_name\" content=\"Kisha Orthodh\u03bfkse Autoqefale e Shqip\u00ebris\u00eb\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/koash1991\" \/>\n<meta property=\"article:published_time\" content=\"2013-11-27T10:53:55+00:00\" \/>\n<meta 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