Lecțiile luminii. Despre mozaic, iconografie și Paradis. Interviu cu Marko Rupnik
The lessons of light. About mosaic, iconography and Paradise. Interview with Marko Rupnik

Summary/Abstract: Whoever enters the Transfiguration Orthodox church in Cluj Napoca in the morning hours will be greeted by a threefold experience of light: the natural illumination, the gold, the silver and the multitude of reflections in the mosaic made by the artist, priest, Marko Rupnik and the iconostasis: wall of light, the work of artist Silviu Oravitzan. In this regard, it is important to note that the two artists collaborated on the concept of the project. The context in which this church appeared in the center of Cluj is an exceptional one and remains an example of reference for contemporary ecclesiastical art. This article does not aim to elucidate all the discussions that are still being held around the approached decorative style or some differences in the interpretation of the canonical iconography, but only a sincere approach to a subject that offers innovative solutions for contemporary iconography. It is not intended to plead in favor of a new style, but to offer an opening for understanding the project from the creator*s perspective, of the artist involved in the work. In 2015 I met the artist Marko Rupnik, a Catholic priest, working on the decoration of the Transfiguration Orthodox church in Cluj Napoca. The work was started a few years ago, during which time we followed the evolution of the iconographic vision and various technical aspects. In September 2016 I met Marko Rupnik again for an interview: Le lezioni della Luce. Sul mosaico, sull’iconografia e sul Paradiso. Intervista con il padre Marko Rupnik – The lessons of light. About mosaic, iconography and Paradise. Interview with Father Marko Rupnik (translator Irina-Cristina Mărginean). The photographer Ovidiu Muraru made the necessary photo documentation. The interview is reproduced in full in the Annex of the PhD thesis: Paradisiacal Gardens in the Mosaic Technique (coordinator: Univ Prof PhD. Marilena Preda Sânc, National University of Arts in Bucharest), which is why this article also analyzes some iconographic themes present in the parietal mosaic, which refer to the Edenic space and the Tree of Life. Some conclusions that can be drawn from the dialogue with Marko Rupnik are the following: Marko Rupnik and his studio - the Aletti Center in Rome, have developed a contemporary mosaic style, which also wants to capitalize on the heritage of old classical techniques, in a formula of stylistic reinterpretation of Christian iconography. The symbolic language developed here is supported by the possibilities of plastic expression. A possible definition of the technique could be: mosaic is a language of different elements which, however, are placed in such a way as to create a suitable tension. Unity in diversity is the way in which Marko Rupnik relates to mosaic, a phrase that defines, in a certain sense, the life of the Church. The members of his team, a multi-ethnic team, are also part of this vision. In terms of textures, patterns and materials, the greatest possible diversity is used: precious and cheap stones, marble, gold, glass, terra cotta (burnt clay) with gold leaf, pieces of different sizes, shiny and opaque. Sometimes tesserae or ceramic tiles are associated with colored cements. The mosaic wall is prepared in advance with a hard cement and a fiberglass mesh, fixed with a two-component binder, which is also used when gluing tesserae. The team uses both the transfer mosaic technique, based on the panels made in the workshop, and direct transposition. In relation to the use of ancient or classical techniques, versus contemporary techniques, Marko Rupnik considers that we can materialize the art of our time, that is, the language that contemporaneity can offer. The textures are diverse, also adapted to the environmental context (in which a mural decoration can also integrate a power panel). Theologian Rupnik associates the evolution of artistic technique with that of the Church, which in every age is an ever-new confession, and appreciates the fact that incredible things are not based on a special financial potential, but on a special human potential.

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