FUNDATIA NATIONALA DE CULTURA

SI TRADITIE POPULARA
Sf. Maria si Alexandra
Scoala de pictur pe sticl Nicula
Municipiul: G H E R L A Aleea Staruintei Nr. 15
Bloc C- 48, Sc. 4, Et. 1, Ap. 41
Of. P.T.T.R.: GHERLA Cod: 405300 Jud. Cluj
R O U M AN IA
Telefon: 0264/ 241.382.
Telefon mobil: 0724670985
Adresa de e-mail: vasile_i_bunea@yahoo.com
Catre :
___________________________________________________________
Va transmitem spre luare la cunostiinta si informare, oferta noastra privind
organizarea unei (unor) expozitii de icoane pe sticla din Scoala Nicula, ntitulata: Cartea Sfanta pe
Romaneste , apartinand pictorului Vasile I.Bunea, scriitor, membru al Asociatiei Oamenilor de
Stiinta, presedinte fondator al Fundatiei Nationale de Cultura si Traditie Populara Sf. Maria si
Alexandra .
Oferta noastra este nsotita de documentele preparatorii necesare acestei actiuni, care
fac parte integranta din oferta si pot sta la baza demararii actiunii, obligandu-ne ca pe parcursul
timpului, sa transmitem alte date sau documente, ce vor fi solicitate si necesare.
Din punctul nostru de vedere si ca urmare a experientei acumulate cu prilejul celor
29 expozitii externe si a celor 30 interne, va comunicam si asiguram ca, asemenea actiuni
culturale au un succes deosebit, la publicul vizitator, n randul specialistilor, sau n mediile
de informare: presa scrisa, vorbita, sau canalele Tv., aducand n prim plan un mestesug
romanesc, vechi de trei secole si jumatate, - pictura taraneasca pe sticla, cu istoria sa de
dezvoltare si perpetuare specifica.
Fata de aceasta propunere, avand n vedere bogata activitate desfasurata de
Ambasadele Romaniei, Institutele Culturale Romneti cu prilejul expozitiilor din Cipru, Grecia,
Belgia, Elveia, Austria etc. din perioada anilor 1992-2004, precum si bunele relatii sau schimburi
culturale cu aceste ri, ne face sa precizam ca activitatea propusa va fi de un real succes.
Folosesc acest prilej. de-a Va ruga sa primiti_______________, salutarile noastre cele
mai calduroase, devotate si amicale, asigurarea unei seriozitati demne de o asemenea activitate, urari
de bine si multa sanatate.
PRESEDINTE:
Vasile I. Bunea

SCURT ISTORIC :
Extras din revista Turism - Nr.l Aprilie 1995 Dezbaterea: Turismul romanesc poate intra n Europa ?
PELERINI LA PORTILE MANASTIRII SI-A SATULUI NICULA.

Desigur ca Romania este, sau a fost cunoscuta pe mapamond din punct de vedere turistic, mai mult
prin fenomenul si mitul Dracula, care pe langa nenumaratele lui invective nu poate si nu trebuie sa
reprezinte fila dintai a civilizatiei noastre de o mare si rafinata traditie, echivalenta sau superioara altora.
Intrat n istoria acestui neam n urma cu mai bine de trei secole, gratie unei Icoane Facatoare de
Minuni a Maicii Domnului, acest fenomen: Fenomenul Nicula, daltuit n constiinta poporului roman si bine
cunoscut de strainataturi, revine astazi n atentia noastra, pentru a putea avea posibilitatea sa-i acordam
maretia pe care a avut-o, o are si o va avea n universalitate.
O biserica de lemn si un taran roman.
Ne gasim n anul de gratie 1691, cand preotul Luca din comuna Iclod, aflata la 35 km, pe soseaua
Cluj Gherla, a pictat o superba icoana pe lemn, reprezentand pe Maica Domnului cu Pruncul Isus n brate.
Aceasta comoara, pictata parca din porunca Dumnezeiasca de un slujitor al bisericii, care iata, purta numele
Evanghelistului Luca, cel care a zugravit primul, chipul Maicii Domnului, a fost cumparata de taranul Ioan
Cupse din aceeasi comuna Iclod, pentru 10 fonti (unitate de masura specifica zonei) cu miere de albine si 2
casi de branza.
Voi reda mai jos cateva din datele tehnice si artistice ale icoanei, descrise candva de un expert
anonim al vremii:
Icoana e zugravita pe o scandura de brad cleita din doua bucati, ntarita n dos cu doua cingatori,
tot din brad . Icoana are o naltime sau lungime de 86 cm., iar latimea este de 65 cm. Grosimea scandurii din
care e facuta icoana este de 2 cm.
Fata Maicii Domnului este lungareata, de culoarea spicului de grau.Ochii mari si negri, foarte
exprimatori, asa ca din orice latura te uiti la icoana, pare ca ochii Maicei Preacurate te privesc, se uita la tine
cu milostivire, cu dragoste. Capul e plecat putintel spre stanga. Pe valul de pe capul Maicii Domnului si pe
umarul drept are cate o stea; cea de pe cap e mai mare, cu raze albe, iar cea de pe umar mai mica si toata e
aurita.
Maica Domnului tine pe Pruncul Isus n brate, iar o mana o tine pe piept. Fruntea Maicii Domnului
este ascunsa de un val de culoare rosiatica, peste care, din afara, pe crestet n jos, atarna o haina purpurie
umbrita cu negru. Haina de sub val este de culoare albastra.
Cumparatorul, om credincios si cu frica lui Dumnezeu, pentru sanatatea familiei sale, daruieste
ulterior aceasta icoana, bisericii din satul Nicula, un sat autentic romanesc, aflat la 3 km. de orasul Gherla,
unde exista o biserica de lemn construitan anul 1557.
Despre aceasta oaza de o ncantatoare originalitate si frumusete, loc de spiritualitate romaneasca de
cea mai autentica clasa, ne vorbeste si istoricul maghiar Jozsef Kadar, care-i recunoaste nu numai menirea ci
si valorile acesteia.
Astfel ca, nceputurile Manastirii Nicula, se pierd n negura vremurilor stiut fiind ca, odata cu
trecerea secolelor si a vicisitudinilor istorice, pe locul primei biserici construite a fost ridicata o alta tot de
lemn.
Mai stim ca nca din anul 1659, pe langa Manastirea Nicula, functiona deja o scoala ce a avut un
rol important n ridicarea gradului de cultura si stiinta de carte n randul taranilor.
Fiind un lacas de cult si instruire, destul de repede ia fiinta aici si prima scoala de pictura
iconografica pe lemn si sticla, imediat dupa prima mare minune petrecuta cu autentica icoana, pictata de
preotul Luca din Iclod.
Icoana care plange.
Dupa ce aceasta Icoana Sfanta a stat de straja si drept stavila n calea atator grele ncercari, ca
repetatele navaliri ale tatarilor si turcilor, a venirii unor osti de alt neam si credinta, la 15 februarie 1694, un
grup de soldati si ofiteri austrieci, au intrat sa vada bisericuta de lemn din satul Nicula.
Vazand aceasta icoana de o frumusete iesita din comun, nvartindu-se n jurul acesteia, privindu-o
cu amanuntul si cu deosebita luare aminte, spre stupefactia tuturor celor prezenti, au constatat, au vazut, ca
Maica Sfanta din icoana plange ! Din ochii ei negri, curgeau lacrimi adevarate !
Consternati de cele petrecute, acesti ofiteri si militari straini, au alergat cu cativa tarani, la preotul
din sat pe nume Mihaiu ( un om la vreo 60 de ani, cunoscut n zona ca evlavios, cinstit si bun), care a sosit

mpreuna cu primii martori straini n fata Icoanei. Au vazut cu totii cum icoana plangea ! Vestea s-a
raspandit repede n micutul sat Nicula.
Femeile veneau si stergeau cu batistele din panza de casa, lacrimile siroaie ale Maicii Domnului,
care nu nceta nsa sa planga!
Acest prim fenomen a persistat, cu mici ntreruperi, pana la data de 12 martie 1694, respectiv 26 de
zile. Uneori ntreruperile erau de cateva zile, alteori plansul era neantrerupt, ziua si noaptea, perioada n care
perelinajul a fost necontenit din toate asezarile zonei. Aici au venit mii de crestini, au fost adusi bolnavi
care au fost tamaduiti de lacrimile Maicii Domnului, n multa rugaciune.
Stiindu-se ca fenomenul poate fi blamat de catre autoritatile de atunci, pentru a autentifica aceasta
Minune Dumnezeiasca, faptul a fost confirmat n scris, printr-un protocol ncheiat de ofiterii garnizoanei din
orasul Dej, ca martori autentici, dar gandurile ascunse ale acestora, pentru care, probabil, Maica Domnului a
plans , aveau sa fie materializate la scurt timp, prin hotararea grofului Sigismund Cornis, ca sa mute aceasta
icoana din Manastirea Nicula, n castelul sau din satul Benediug, aflat n apropiere.
Desi populatia din sat mai ales, precum si cei din zona s-au opus vehement, hotararea comitelui
Cornis a fost pusa n aplicare la scurt timp.
Cu mare pompa, n sunete de trambiti si fanfara militara, cu cantari bisericesti n solemna
procesiune, de slavit praznic, la care au asistat mii de credinciosi din toataValea Somesului si alte comitate,
la data de 12 Aprilie 1694, Sfanta Icoana, a fost asezata n capela castelului din Benediug, n prezenta
dregatorilor civili si militari, precum si a populatiei civile, profund mahnita de nedreptatea care li s-a facut,
de-a li se fi luat acest Dar Dumnezeiesc.
De ndata, credinciosii romani din satul Nicula si localitatile de pe Valea Somesului, s-au plans n
scris, Curtii Imperiale de la Viena, pentru nedreptatea facuta, dar nu au primit un raspuns clar, prin
dregatorii locului. Satenii s-au plans si judelui de tinut.
n timpul gazduirii Icoanei Sfinte n castelul din acest sat, s-au mai petrecut niste fapte demne de
remarca. Astfel groful Cornis, care dorea, dar nu putea avea copii, prin rugaciuni fierbinti n fata Icoanei
Maicii Domnului, a dobandit darul de la Dumnezeu de-a i se naste un fecior n familie, fapta care l-a mai
mbunat fata de supusii sai.
Pentru dovedirea puterii Sale miraculoase, s-a deplasat la Benediug si o comisie bisericeasca de
trei parinti iezuiti, care dupa aflarea adevarului, au vrut sa duca Icoana Sfanta la Cluj. La aceasta propunere
s-a opus n primul rand groful Cornis si n al doilea rand credinciosii din satele din jur, n fruntea lor
aflandu-se desigur cei din satul Nicula, care au iesit cu coase, sape si furci la Benediug, opunandu-se si
facand mare zarva.
n vederea evitarii unor tulburari sociale confesionale de amploare, s-a hotarat de catre dregatori,
napoierea Icoanei Sfinte, la Nicula, fapt ce s-a petrecut n prima duminica de dupa Craciunul anului 1695,
spre mangaierea si bucuria credinciosilor, care au stiut sa-si apere si redobandeasca, acest tezaur spiritual de
netagaduita valoare.
De mentionat faptul nu lipsit de importanta si ncarcatura istorica si care este pe deplin autentic, ca
nsusi mparatul de la Viena la acest moment, a poruncit ca Icoana Sfanta sa se ntoarca n biserica Sa de
origine unde orice credincios, de orice lege, sa aiba dreptul sa mearga si sa se nchine Sfintei Icoane.
Aceasta hotarare a fost luata si n urma procesului niculenilor ndreptat mpotriva grofului
Sigismund Cornis de la Benediug. Hotararea luata de mparat si de jude, a convenit ambelor parti si drept
urmare sotia contelui a staruit pe langa sotul ei, sa reconstruiasca vechea bisericuta din lemn, si a daruit
doua clopote, primul datand din anul 1410 ce se afla n castelul lor, iar al doilea cu pisanie slavona, anume
randuit pentru manastire.
Astfel s-a ncheiat acest conflict, ntr-un mod echitabil si fericit, niculenii reusind sa-si
redobandeasca zestrea cu care i-a nvrednicit Bunul Dumnezeu.
n 1699, se spune ca icoana a lacrimat timp de cateva zile. nca de acum 300 de ani, Vaticanul a
recunoscut oficial icoana de la Nicula ca fiind facatoare de minuni, iar n 1926 Papa Pius al XI-lea a emis
un document pontifical prin care se acorda iertarea pacatelor pelerinilor care ajung la Nicula.
Icoana este realizata pe scandura de brad, ntarita cu doua cingatoare de brad, n grosime de doi
centimetri. Aceasta atrage n prezent sute de mii de credinciosi din ntreaga lume.
Scoala de pictura iconografica, ntr-un sat transilvan.

De ndata, dupa stingerea definitiva a conflictului, aici la manastire si pe urma chiar n satul
Nicula, s-a dezvoltat o scoala de pictura iconografica pe sticla, care la nceput a folosit drept prototip si a
reprodus, Icoana Facatoare de Minuni a Maicii Domnului, acest model autohton va nsufleti elanul creator al
iconarilor locali, ca apoi sa picteze si alte teme biblice individuale sau de grup, scoala devenita destul de
repede, celebra la nceput n Europa si apoi n lume, fenomen a carui traditie, prin osardia unui grup
restrans, a fost revigorata si se mai pastreaza si astazi.
Pentru a dovedi celebritatea acestei Icoane Sfinte, voi mentiona reproducerea acesteia si n
Ceaslovul din anul 1752 aparut la Blaj.
nceputa spre sfarsitul celei de a doua jumatati a secolului al XVII-lea si nceputul secolului al
XVIII-lea, pictura pe sticla de la Nicula, si dupa aparitia unor noi centre de inspiratie niculeana, din ntreaga
Transilvanie, a avut o epoca de mare nflorire si larga raspandire n veacul al XVIII-lea, dar mai ales n
secolul al XIX-lea si primele doua decenii ale secolului al XX-lea. S-a pictat pe sticla si dupa1920 si nca
destul de frumos, a urmat o perioada de decadenta, ca mai tarziu unii mesteri deja cunoscuti sa fie studiati.
Personal, m-am ocupat de cazul ultimului pictor taran- niculean, Gheorghe Feur-clopotarul
La nceput s-a pictat pe sticla de manufactura, provenind de la Comana sau Porumbacul de Sus, si
ca o descoperire ulterioara mentionez si sticla de la manufactura Azuga. o sticla de calitate, cu ondulatii
perceptibile, ca odata cu scurgerea timpului sa se ajunga a fi folosita sticla clasica de 2, 3, sau chiar 4 mm.,
dar care impune conditia de-a avea o tenta verzuie, care-i confera culorii asezate pe sticla, un farmec aparte,
lucru descoperit de mine prin experienta deceniilor, de cand pictez.
Dupa prima tema cu Maica Domnului cu Pruncul Isus, au urmat, Ilie Prorocul, Isus cu vita de vie,
Sfantul Ion cu mielul, Nasterea lui Isus, Arhanghelii Mihail si Gavril, Rastignirea lui Isus, Cina cea de
Taina, Sfantul Gheorghe, Sfantul Niculae, Sf.Vasile, Grigore si Ioan, Adormirea Maicii Domnului,
ngroparea si Prohodul lui Isus, Arhanghelul Mihail, Maica Domnului ndurerata, Botezul lui Isus, etc.
Dintre exponentii de baza ai vechii scoli niculene pe sticla, numiti si zugravi, amintim aici pe:
Stefan Mircea si fiica sa Maria Chifor, Stefan Beldiman, Dionisie Juga, Teodor Tecar sau Tecariu, Pop
Simion, Andrei Man, familiile Tamas, Prodan, Moga, Ghimba(mai tarziu Ghimbasan), Vasile Moldovan,
Simion Mircea, Gheorghe Rat, nume pe care le vom gasi mai tarziu si n alte centre de pictura pe sticla din
Scheii Brasovului, Tara Barsei, Tara Oltului, n jurul Albei Iulia si chiar n Bihor, ceea ce denota ca au
migrat din Nicula, ca urmare a perelinajelor lor, de-a vinde icoanele n satele din aceste zone, unde s-au
stabilit prin casatorii.
Curentul a avut o perioada de mare glorie, dar dupa aglomerarea de pictori, produsa spre sfarsitul
secolului XIX-lea si nceputul secolului al XX-lea, scoala de pictura cunoaste si o perioadade decadenta,
care dispare prin naturaletea sa, astfel ca raman n a continua traditia numai cei care au produs opere de
valoare.
n anul 1945, dupa instaurarea regimului totalitar comunist, din initiativa vietuitorilor de la
manastirea Nicula, si cu sprijinul satenilor din jur, Icoana Sfanta, a stat ascunsa la diverse adrese
conspirative n satul Lunca Bontului, pana n anul de gratie 1964, apoi dupa descoperirea sa, la insistentele
si presiunea autoritatilor comuniste atee si pentru a se putea preantampina organizarea de pelerinaje de sute
de mii de oameni, la praznicul de la data de 15 August, Sfanta Fecioara Maria, Icoana Facatoare de Minuni,
a fost mutata o vreme n capela Arhiepiscopiei Ortodoxe a Clujului.
n anul 1991 icoana, a fost ncredintata laboratorului de restaurare de pe langa Muzeul de Istorie a
Transilvaniei din Cluj-Napoca, de unde cu chipul ntinerit, si splendid reconditionata, este readusa cu mare
pompa si sarbatoare la sfanta Manastire Nicula, la data de 24 martie 1992.
Putem afirma ca, icoana de la Nicula apare din punct de vedere religios ca o afirmare a Tainei
ntruparii lui Hristos, sau ca o actiune a memoriei vizuale, a credintei apostolice. Nu n ultimul rand, Ea ne
apare ca o capacitate de-a accepta lucrarea divina a harului sfintilor prin materie.
Primul mare cercetator roman care s-a aplecat asupra acestei teme, acestui fenomen si asupra
acestui mestesug cu seriozitate si competenta, a fost prof. univ. Ion Apostol Popescu, al carui elev am fost,
care a reusit sa tipareasca si prima carte n materie, considerat a fi un tratat despre fenomenul Nicula,
ntitulat: Arta icoanelor pe sticla de la Nicula cu o
prefata de A.E.Baconsky Editura Tineretului,
aparuta n anul 1969, cu mari interventii si sacrificii.
Datorita deschiderii sale catre neam si lume, fenomenul Nicula, s-a revigorat n ultimile decenii
prin aparitia de noi si valorosi pictori, amintindu-i aici pe: Marian Mustea-senior, Pacurar Emil, Martaian
Ermone, calugarul Ilarion Muresanu si altii cu care ncercam sa revigoram pe deplin fenomenul, sa

continuam traditia, raportata la conditiile secolului al XXI-lea, pentru ca, prin forta acestei arte de o
religiozitate si acuratete speciala, fenomenul renascut dupa decenii, sa se afirme ca valoare ntre valorile
universale.
Presedintele Fundatiei:
Vasile I. Bunea

Motto:
Sunt ultimul dintr-o generatie, care a daltuit
prin arta, ntr-o piatra de prapastie, fara a vrea
sau putea ajunge n varful ei.
Vasile I. Bunea
SPICUIRI DIN CURRICULUM VITAE, A LUI VASILE I. BUNEA:
VASILE I. BUNEA, s-a nascut la data de 20 martie 1944, n perioada grea a refugiului, n comuna
Rosia-Montana, Jud. Alba, fiind al doilea copil al sotilor Bunea Izidor si Elisabeta, si descedent din doua
familii ilustre de carturari romani, pe linie paterna familia istoricului Dr. Augustin Bunea, canonic de Blaj,
aparator n Procesul Memorandistilor, iar pe linie materna familia patriotului Stefan Ciceo- Pop, unul din
initiatorii si promotorii Consiliului National Roman, personalitati marcante ale istoriei neamului romanesc,
din acele zbuciumate vremuri.
Copilaria o va petrece o parte n casa parintilor marelui filozof si poet roman Lucian Blaga, care va
pune o remarcabila amprenta pe viitorul si formarea de mai tarziu a copilului de atunci, n comuna Lancram,
jud. Alba. Aici copilul Vasile I. Bunea l cunoaste pe marele poet, care atunci activa n strainatate, ca
diplomat roman. Urmeaza clasa a III-a primara n orasul Sebes, unde l va cunoaste si pe poetul Mihai
Beniuc, continua clasele gimnaziale la Gherla jud. Cluj, odata cu revenirea parintilor din pribegia nceputa
cu refugiul, din motive etnice.
Se nscrie la renumitul Liceu Teoretic (profil pedagogic) Petru Maior din orasul Gherla, unde l
va avea printre altii, pe ilustrul dascal Ion Apostol Popescu, discipol al profesorului de atunci Lucian Blaga,
cu care si-a dat licenta.
Vasile I. Bunea va lucra n nvatamant si cultura ani de zile la diferite nivele si esaloane
administrative, perioada n care va urma cursurile Institutului Pedagogic. Avand de timpuriu preocupari de
condeier, va debuta n cadrul Cenaclului Tribuna de la Cluj cu poezie, mpreuna cu pleiada de tineri scriitori
Ana Blandiana si Ion Alexandru, fiind remarcat de critica literara a vremii. Publica poezie n presa centrala
si locala.
Viata-l trimite pe valurile ei spre capitala, unde va locui 30 de ani, perioada n care va fi functionar
la o centrala cu profil materiale de constructii, apoi functionar n Ministerul Constructiilor Industriale, la
antipod cu preocuparile si vocatia sa, dar ntr-un colectiv care l-a menajat si nteles pe deplin.
n aceste decenii, paralel cu activitatea platita de stat, va colabora la reviste si publicatii literare ca:
Saptamana, Luceafarul, Tomis, Tribuna, Suplimentul Literar Artistic al Scanteii Tineretului, Flacara,

Almanahuri Literare, Albina, Vatra, Romania Literara, Tribuna Romaniei, postul de radio Bucuresti si
Televiziunea Romana.
Participa la cenaclurile literare care existau atunci si la propunerea poetului Dan Mutascu, este
lansat oficial ca poet, n cadrul Cenaclului Nicolae Labis al revistei Saptamana, chiar de prozatorul Eugen
Barbu.
La scurt timp, mpreuna cu tanarul critic literar Constantin Sorescu, va nfiinta cenaclul literarartistic Lumina din capitala.
Sub ndrumarea profesorilor: Serban Cioculescu, Alexandru Balaci, Vladimir Strainu,
I.C.Chitimia, Zoe Dumitrescu-Busulenga, George Muntean, Vasile Netea, Edgar Papu, Dan Grigorescu si
altii, face cercetare n istoria si critica literara romaneasca.
O relatie speciala va avea cu acad. Alexandru Philippide, si Nicolae Steinhardt pe de o parte, care-i
va deschide pasiunea si spre critica literara, iar pe de alta parte va avea o prietenie stralucita, cu fostul
student a lui Lucian Blaga, fostul profesor din anii de liceu Ion Apostol Popescu, care-i va deschide apetitul
spre cultura si traditia populara romaneasca, n special pentru studierea fenomenului iconografic de la
Nicula.
Urmare a acestor relatii deosebite, va nfiinta si conduce la Bucuresti Cenaclul Literar Alexandru
Philippide dupa moartea poetului, care a functionat pana n 1990, iar pe latura a doua va studia pe ultimii
iconari niculeni, cu predilectie pe Gheorghe Feur clopotarul si se va apuca efectiv si el de pictura pe sticla.
Participa la nenumarate dezbateri, colocvii, seminarii, mese rotunde, simpozioane, sesiuni de
comunicari stiintifice n tara si capitala, este printre membrii fondatori ai Asociatiei Etnologilor
Transilvaneni cu Virgil Medan de la Cluj, Ion Apostol Popescu de la Gherla, Marza Dan si Radu Saplacan
de la Dej.
Datorita unor conceptii lipsite de asperitati referitoare la actul de creatie si rolul acestuia n
educatia estetetica a individului, ntretine o amicitie de invidiat cu Marin Preda, caruia prea putini au reusit
sa-i patrunda sanctuarul de ganditor si de revolta interna, n ciuda aparentelor sale la prima vedere.
Leaga o prietenie deosebita cu Nichita Stanescu, a carui amprenta se va vedea n scrierile lui
Vasile I. Bunea de mai tarziu. Este unul din cei 10 apropiati, care la decesul marelui poet, -i va organiza
funeraliile, cu mult scandal si surprize din partea autoritatilor comuniste.
Ca o realizare si un corolar a acelor vremuri, la recomandarea acad. Mihai Beniuc, prof.
I.C.Chitimia, acad. Alexandru Balaci,Ion Alexandru, acad. Alexandru Philippide, George Muntean, Nicolae
Steinhardt si Tudor Opris, etse primit n calitate de membru al Asociatiei Oamenilor de Stiinta din Romania,
la sectia Etnologie.
Dupa1989, recunoscandu-i-se pe deplin valoarea artei sale de iconar, de continuator si pastrator al
valorilor de netagaduit al fenomenului Nicula, cu multa ambitie si mai ales cu datoria ca aceasta arta sa
renasca si nfloreasca n matca ei, nfiinteaza Fundatia Nationala de Cultura si Traditie PopularaSf. Maria si
Alexandra Scoala Nicula, apoi este chemat si organizeaza nenumarate expozitii n tara si strainatate,
ntitulate sugestiv : Cartea Sfanta pe Romaneste, din care spicuim:
GERMANIA: - Berlin 1990 - aprilie
ELVETIA:
- Basel - 1991 - mai
BELGIA:
- Malinnes 1992 februarie
ROMANIA: - Bucuresti 1992 aprilie Cercul Militar National
GRECIA:
- Salonic 1992 septembrie Institutul Francez
- Volos 1992 octombrie Institutul Francez
- Patras 1992 noiembrie Institutul Francez
- Atena l992 noiembrie Casa prieteniei romano - elene
- Atena 1992 decembrie Ambasada Romaniei
- Atena 1992 decembrie Institutul Francez
CIPRU:
- Nicosia l994 aprilie Hotelul Hilton
- Larnaca 1994 aprilie Holy Diocese
- Limassol 1994 aprilie Hall of Sf.Georges Church
ROMANIA: - Bucuresti 1994 noiembrie Sala Dalles
- Bucuresti 1994 decembrie Ministerul Afacerilor Externe
- Bucuresti 1995 iunie Salla Dalles
- Bucuresti - 1995 decembrie Ministerul de Interne

- Bucuresti 1997 aprilie World Trade Center

- Bucuresti - 1997 iunie Hotelul Triumf
- Gherla 1998 decembrie Muzeul de Istorie
- Cluj-Napoca 1999 ianuarie Galeria Alianta Artelor
- Gherla 2000 martie Sala Francofona- Muzeul de Istorie
- Cluj-Napoca 2001 aprilie - Inspectroratul Judetean de
Cultura si Arta Spiritualitatea Romaneasca n imaginarul iconic n cadrul Salonului Icoanei Ardelene,
Editia a III-a
- Cluj - Napoca - 2002 decembrie Expozitie retrospectiva Centrul Creatiei
Populare
- Gherla 2003 aprilie Muzeul de Istorie
- Cluj-Napoca 2004 decembrie Muzeul National de Arta
- Gherla 2005 aprillie Sala Francofona Muzeul de Istorie
- Gherla 2006 decembrie Muzeul de Istorie
- Cluj - Napoca 2007 ianuarie Centrul Creatiei Populare
Este autor a 56 de lucrari de cercetare stiintifica n domeniul istoriei, criticii literare, a culturii
populare si autor a nenumarate articole n aceleasi domenii.
Debuteaza editorial destul de tarziu, dar bine si promitator. Este primit cu interes de critica literara,
cu exceptiile inerente, el fiind o persoana incomoda doar pentru cei nepriceputi.
.Iata zic voua: Volum de versuri Bucuresti Editura Fiat Lux - 1994
Arhitectura Erorii Volum de eseuri Bucuresti Editura Fiat Lux- 1995
Bastonul de Maresal "Poeme palmuite- Bucuresti Editura Fiat Lux- 1998
Ion Apostol Popescu Frumoasa Privighetorilor Basme armenesti din Transilvania Editura
Ararat 2001 Editia a III-a, revazuta si adaugita, cu un studiu introductiv de Vasile I. Bunea
Iata cateva spicuiri din : Cuvinte despre autor
Alexandru Philippide:
Versul nervos ca si firea-i, privite fugar, nseala. Poezia lui te ndeamna la meditatie. O meditatie
dulce, ca cea din versurile filosofilor antici
Serban Cioculescu:
Desi elev al bunului meu amic I.A.Popescu, pe Vasile Bunea nu-l pot lauda. Sincer, l felicit !
Ion Apostol Popescu:
Pe Vasile Bunea poetul, l-am descoperit n anii liceului, cand prin vers depasea cu mult
orizontul adolescentului. Versurile sale sunt inspirate de mediul satului autentic, care-si pune pregnant
amprenta pe creatia sa, o amprenta pe care o gasim, desigur, n poezia cosbuciana, cea fara de egal .
Mihai Beniuc:
Temeritatea lui Vasile Bunea de a scrie versuri vine din copilaria lui n Lancramul lui Blaga. Sa
fie oare o legatura, sau un blestem frumos al muzei ?
Laurentiu Fulga:
Scrierile lui Vasile Bunea ncep cu poezia, continua cu eseul literar si se termina cu lucrarile sale
stiintifice, dintre care nu pot omite Eminescu si folclorul ardelenesc. Poate ca, ntr-o zi, numele sau va fi
asezat pe coperta unei carti. Sincer, o merita.
Eugen Barbu:
L-am primit n Cenaclul Nicolae Labis ca pe o speranta n care cred. Desi uneori livresca,
poezia lui aduce condescendenta versului filosofic, demonstrand posibilitatea unei elaborari poetice intens
lucrate.

Nicolae Steinhardt:
Pentru serile de poezie de la Casa Poetului din asezamantul manastirii Rohia, lui Vasile Bunea
trebuie sa-i multumesc din inima. El scrie o poezie de tensiune filozofica.
Nichita Stanescu:
Batranul Bunea nu e un poet. A fost ! Acum, el este o spirala care respira prin cuvinte. Oricum, el
a trecut demult pragul debutului unui destin liric.
Marin Preda:
Nu ma prea pricep la critica de poezie, dar citind versurile lui Vasile I. Bunea, simt nervul
unui discurs poetic autentic, sunt convins ca citesc un poet. Si nu numai atat, el are si alte scrieri ce te incita
la a-l citi, studia si memora cu deosebita atentie.
Datorita proiectelor sale de viitor cu bataie lunga, parintii sai batrani si singuri, plaiurile
copilariei si-ale tineretii sale, l-au chemat acasa ntre ai sai. Astfel ca n luna octombrie 1998, revine din
Bucuresti, restabilindu-se la Gherla, unde-si continua discret activitatea de creatie n varii domenii, facand
ceea ce a nvatat de la maestrii sai, o viata. !
Vasile I. Bunea are n pregatire urmatoarele carti:
Jaccuse roman politic-autobiografic.
Inscriptii pe un bob de orez poeme
Incest de cuvinte - poeme
n colaborare (colectiv ) :
Isrtoria Municipiului Gherla, de la origini la prezent.
n colaborare cu preotul Gavril Pop, a organizat si amenajat ntr-o cladire anexa a Muzeului de
Istorie din Gherla, un valoros muzeu de icoane pe sticla autentice, (cel mai valoros din zona) vechi de 1, 2
sau chiar 3 secole, din Scoala Nicula, Laz, Maierii Albei Iulia si Fagaras si alte icoane pe lemn sau obiecte
de cult si carte rara bisericeasca, sub tutela Episcopiei Greco-catolice de Cluj-Gherla
Cu prof.ddr.Mihai Mester, directorul Muzeului de Istorie din Gherla, a organizat si va deveni o
permanenta, o serie de simpozioane si colocvii stiintifice privind cultura si traditia zonala.
Despre activitatea prodigioasa a pictorului de icoane Vasile I. Bunea, dar mai ales a succesului
artei sale iconografice, s-au scris zeci si zeci de articole, atat n tara cat si n tarile pe care le-a colindat, a
acordat numerose interviuri la posturile de radio si Tv. externe, a avut emisiuni pe majoritatea posturilor Tv.
si radio din tara si mai interesant este ca a conferentiat la obiect, n tarile vizitate, popularizand aceasta arta
straveche, pentru a face cunoscut geniul creator al poporului roman.
Pictorul Vasile I. Bunea are lucrari n importante muzee si colectii particulare din: Germania,
Elvetia, Belgia, Comunitatea Rusia (C.S.I.), Iugoslavia, Grecia, S.U.A., Anglia, Cipru Ungaria si Cehia.
Un merit deosebit a lui Vasile I. Bunea, este acela ca: el raportandu-se la cerintele cercetarii
moderne privind iconografia romaneasca pe sticla, a stiintificat acest mestesug impunand creatorilor,
datarea obligatorie a lucrarilor, iar el, personal si-a codificat lucrarile, n vederea individualizarii lor, pe
tematici si reprezentari, pe curente si sursa de izvoade, astfel ca pictorul Vasile I. Bunea, detine personal
peste 250 de astfel de coduri, aspect nemaiantalnit la restul pictorilor de icoane pe sticla, ceea ce-i confera
un primariat n materie absolut imbatabil, ce-l va lasa mostenire culturala posteritatii.
Acest aspect a fost relevat si n presa straina care a scris si semnalat prezenta sa cu arta-i autentic
personala, n atatea expozitii internationale si n tara, fiind solicitat n multe locuri, de aici sau aiurea.
Explicatia mea este simpla, din punctul de vedere al criticului de arta: el a ngemanat arta de bazaa
scolii Nicula, cu pasiunea, meticulozitatea, creatia-i proprie si rigoarea -fie ea artistica fie ea lucrativa, chiar
daca nu tinde spre perfectiune.
O alta mare gaselnita a pictorului Vasile I. Bunea, este metalizarea culorilor, printr-un procedeu
numai de el stiut deocamdata, care da un plus de valoare operei si o alta caldura culorii si scenei pictate.
Stradaniile sale, luate n serios, duc la concluzia ca el face arta cu mare pasiune si din nemarginita-i dragoste
pentru Dumnezeu.
Nu pot ncheia aceste spicuiri din curricullum sau vitae, fara sa notez si eu cateva ganduri ce le-am
scris despre artist, n urma cu an an si ceva:

 Personalitate polivalenta scriitor, poet, pictor, Vasile I. Bunea, dupa un ndelung periplu
bucurestean, a raspuns chemarii obarsiei, revenind la Gherla, orasul sau natal. Condus de vocatia sa
romantica, deloc veleitara, s-a ntors avand n minte proiectul resuscitarii scolii mesterilor iconari din satul
Nicula, scoala de arta taraneasca avand o istorie prodigioasa. n parte a reusit, n parte rezultatele sunt nca
asteptate.
Dincolo de aceasta ambitie mai degraba administrativa, reusita lui este deplina n domeniul artistic.
Aceasta expozitie retrospectiva prilejuita de inaugurarea Centrului Cultural Transilvania si de
ntalnirile Traditie si Modernitate organizate de Centrul Judetean de Conservare si Valorificare a Traditiei si
Creatiei Populare Cluj, ilustreaza pe deplin calitatile artei sale.
Avem de-a face nu cu pictorul-taran de altadata, nici cu monahul cucernic, caligraf staruitor n
chilia manastirii, ci, de data aceasta, cu intelectualul erudit care preia cu inteligenta modelele altor scoli de
pictura, cum ar fi cea de Fagaras sau Maierii Albei Iulia, dar revine, n acelasi timp, obsedant, subliniind,
prin realizari propri profundele calitati artistice ale Scolii Niculene.
Icoana sa porneste de la izvoade selectate cu grija si se ncarca de incandescenta propriului sau
spirit.
Astfel el propune o formula care poate fi de mare actualitate si cea mai nimerita pentru a se nscrie
sub genericul traditie si modernitate.
Singura punte de-a reuni, reorandui, si trona peste aceste trei veacuri de istorie, cat masoara
culmile picturii niculene ..
Prof.univ. Vasile Radu
- critic de artaDirector al Centrului de
Creatie Populara- Cluj
Romania

FISA TEHNICA:
Icoanele sunt pictate cu vopsele de ulei de buna calitate, care asigura o durabilitate prelungita (de
cateva secole, dupa experienta de la Nicula) si o cromatica mai accentuata n timp.
Sunt pictate pe o sticla aleasa, cu tenta verzuie la marginea taierii, care-i confera calitati lucrative
specifice mestesugului. Uscarea lucrarii se realizeaza numai pe cale naturala, prin evitarea categorica a
agentilor termici artificiali.
Grosimea sticlei variaza n functie de marimea temei pictate. De regula se foloseste sticla de 3 mm.
Greutatea specifica a unei icoane obisnuitte este de 800 gr. cu rama cu tot.
Icoanele sunt nramate n rama confectionata din sipci de brad (bine uscat 2-3 ani) baituit la o
nuanta specifica, cu grosimea de circa 2,5 cm., caracteristica mestesugului practicat n ultimul secol.
Lucrarile sunt prevazute cu agatatori bine fixate, care permit suspendarea acestora la expunere sau locul de
pastrare ntr-o colectie.
Lucrarile sunt cartonate pe spate pentru protectie fata de agentii externi din mediul si locul de
expunere, respectiv gradul de umiditate si temperatura.
Icoanele semnate de autor si datate ca an, sunt codificate, respectiv nregistrate dupa catalogul
ntocmit de catre noi, ca urmare a inventarierii tuturor temelor descoperite n timp si lucrate la Nicula, sau
au coduri noi la temele create mai recent. Poarta oficial stampila Fundatiei Nationale de Traditie si Cultura
Populara.
In acest sens lucrarile sunt etichetate pe verso, eticheta ce cuprinde datele de identificare a icoanei
ca: tema reprezentata, dimensiunea, autorul, anul creatiei, si codul specific temei respective.
Numarul icoanelor propuse pentru aceasta expozitie (ea poate fi si itineranta) ca sa fie respectata
cat de cat tema biblica, este de 80 l00 lucrari cuprinse ntre dimensiunile:
- 25/20 cm. icoanele mici
- 35/25 cm. icoanele mijlocii
- 45/35 cm.

- 65/80 cm. icoanele mari (cateva teme )

Lucrarile pot fi expuse pe panouri fixe, sau prin agatare, n functie de firul cu care este prevazuta
sala de expunere. Inconvenientele care apar de regula la montarea unei expozitii, se pot rezolva prin solutii
simple, la fata locului.

DATE SI CERINTE DE ORDIN ORGANIZATORIC:

Posed pasaport turistic normal. Am avut pana n anul l998 pasaport de serviciu, care mi-a fost
retras de catre Directia Consulara a M. E.
Am nceput diligentele pentru obtinerea vizelor si-a actelor emise de Oficiul Patrimoniului
Cultural de la Cluj, n vedere exportului temporar sau definitiv a lucrarilor, deoarece expozitia va fi cu
vanzare.
n acest sens este necesara o solicitare din partea Ambasadei dvs.catre Oficiul Patrimoniului
Cultural Cluj, pentru exportul temporar al acestor lucrari, deoarece conform legii, astfel operatiunea este
scutita de taxa, n caz contrar eu ar trebui sasuport 4.000.000. lei taxe de export, pe care nu mi le permit.
Imediat ce voi avea confirmarea, ca de la dvs. s-a transmis aceasta comunicare eu plec la Cluj Napoca sa
iau adresa de la Ofiiciul Patrimoniului Cluj.
Preturile sunt extrem de moderate si ele urmaresc acoperirea cheltuielilor materiale ocazionate de
aceasta actiune, astfel:
- lucrarile mici de dimensiunea
25/20 cm. = 45 euro
- lucrarile mijlocii de dimensiunea 35/25 cm. = 55 euro
- lucrarile mijlocii de dimensiunea 45/35 cm. = 65 euro
- lucrarile mari de dimensiunea
65/80 cm. = 80 - 120 euro
Comunicati-mi daca am nevoie de viza?
Daca mi se cere asigurarea medicala la intrare ?
Daca statul respective solicita la vama, taxe pentru iontroducerea lucrarilor ? Cum si prin ce
modalitate se platesc aceste taxe ?
Daca expozitia se organizeaza prin Ministerul de Externe, respectiv Ambasada Romaniei, aceste
taxe sunt obligatorii ?
Daca aduc uneltele si cele necesare pentru a picta la fata locului, demonstrativ,
n timpul expozitiei ?
Daca mi se poate asigura cazarea cat de simpla si modesta si n ce conditii materiale ?
Daca expozitia poate fi si itineranta la doua locatii, respectiv doua localitati ?
Daca sala de expozitii se plateste si n ce mod ?
Daca este potrivit a aduce si cate 10 20 exemplare din cartile mele ? Poate ar fi interesant si ar
putea fi organizata paralel si o alta manifestare culturala.
Cine ar putea face promotia acestei expozitii (actiuni) si daca cineva ar putea sponsoriza realizarea
unui catalog sau invitatie la manifestare ?

Daca diaspora romaneasca, reprezentantele noastre economice, comunitatile religioase a diferitelor

confesiuni, participa la asemenea actiuni ?
De regula actiunile anterioare externe, au fost filmate pe sistem video si mediatizate prin Tv.
Regula locului permite aceasta ?
Eu voi astepta confirmarea primirii corespondentei, de catre dvs. si voi apela la 2-3 zile adresa mea
de e-mail. n acest sens, dupa analiza dvs. Va rog a-mi comunica opiniile si alte cerinte care apar pe parcurs,
la care eu voi raspunde cu promtitudine.
Cu mult respect,
Vasile I. Bunea
OFERTA N LIMBA ENGLEZ:
THE NATIONAL FOUNDATION FOR POPULAR CULTURE AND TRADITION
"St. Mary and Alexandra"
The National School for Icons on Glass- Nicula
ROMANIA, Town: G H E R L A
Str. Aleea Staruintei Nr. 15, Bl. C-48, Sc. 4, Et. 1, Apt. 41
Postal code: 405300- Cluj county- Of.PTTR: Gherla
Tel. 0040/264.241.382
e-mail: vasile_i_bunea@yahoo.com
OFFER
To achieve popularization and knowledge of one of the oldest crafts in Romania, our foundation, through
our chairman, the writer and icon painter Vasile Bunea submits to the attention of international
organizations, governments, culture ministries, museums, art collections, similar foundations,
representatives of religious cults, private art collectors and art lovers, his exhibition entitled: "The Holy
Book in Romanian".
His proposal is destined to serve the purpose of organizing exhibitions in the countries that are interested, by
the competent authorities, foundations, religious cults, or firms interested.
Therefore the documentation that accompanies the offer, translated from Romanian into: English, French
and German, which explains the emergence of the Nicula Phenomenon, of the Miraculous Icon and of the
school of popular culture as well as the prodigious activity of the author organizing exhibitions in the
country and abroad, fully motivate this particular offer.
For an even better understanding and documentation, the site on which the offer was presented puts at the
disposal of those interested numerous colored illustrations, representing works with a thematic of great
artistic value, composition and color.
In the case of both potential exhibitions and individual orders, we give, as follows, the sizes of the works
and their prices:
- miniatures icons
15/20 cm.= 25 - 45euro
- small icons:
20/25 cm.= 35 - 45 euro
- middle-sized icons:
25/35 cm.= 45 - 60 euro
35/45 cm.= 55 - 75 euro
- large icons:
60/80 cm.= 85 100 euro
The icons have been painted in colors made from vegetal oils, their frames made of fir wood, they have
been signed by the author and codified according to the usual norms of the foundation for their
individualization and identification.
The authors extensive experience of over 25 years, which includes the study of the phenomenon from the
moment of its emergence,- the successes achieved in the country and abroad, the numerous interviews given
to radio- stations, television and media, articles of specialists entitle us to strive for new successes in
different countries on the globe.

Usually during trips abroad, his tools have accompanied the painter and he has painted demonstratively at
the site, for those interested, an aspect which has led to the extension of his stay in those places, awakening
interest in specialists and public.
The Foundation and the artist can be contacted through e-mail in: Romanian, English or French, letters
which will be answered in 3 days, given that the requests are serious and concrete.
We invite you to visit this site, it will give you particular pleasure, it will bring you closer to the power of
the miraculous and mystical icons of Nicula, and more specifically it will bring you closer to God, the
Creator of the Universe, in this shady world, ruled by our many needs.
If one solicits the organization of an exhibition, the necessary preparation time is of 2-3 months and the
individual orders are satisfied within a month.
In both cases, the painter, through the Foundation will perform all the necessary intercessions for the
approval of the National Cultural Patrimony, regarding the removal of the paintings from Romanian
territory, for a limited time in case of exhibitions and definitive export in case of orders.
We mention that the prices included in the offer are valid depending on the rate of inflation in Romania and
the rate of currency exchange given by the National Bank of Romania.
To own, admire and enjoy the icons of Nicula, there is only one thing you must do: Contact us as soon as
possible!!!
We await your propositions and orders with much interest and professional seriousness. Yours and
everyones sincerely,
Chairman of the foundation:
Vasile I. Bunea
MOTTO:
"I am the last of a generation that has
carved Through art in the stone of an
abyss without the wish Or ability to
mount it."
Vasile I. Bunea
QUOTES FROM THE CURRICULUM VITAE OF VASILE I. BUNEA
Vasile I. Bunea was born on the 20-th of March 1944, during the difficult period of refuge, in the village
Rosia-Montana, Alba county, being the 2-nd child of Bunea Izid and Elisabeth, descendent of two illustrious
families of educated Romanians; one of them, the family of the historian Dr. Augustin Bunea, on the fathers
side, prebendary of Blaj, defender in the trial of the Memorandists, and the second, the family of the patriot
Stefan Ciceo Pop, one of the initiators and promoters of the Romanian National Council- on the mothers
side- both important personalities of Romanian history of these troubled times.
He spent a part of his childhood in the house of the great Romanian poet and philosoper, Lucian Blagas
parents, a fact which would leave a remarcable mark on the future and development of the child, in the
village Lancram, Alba county. Here, the child Vasile I. Bunea met the great poet, who at this time was active
abroad as a Romanian diplomat. He graduated 3-rd grade in Sebes, where he met the poet Mihai Beniuc,
and went to secondary school in Gherla, Cluj County, once his parents returned from their voyage, started
with the refuge, because of ethnical reasons.
He went to the famous "Petru Maior" theoretical high-school in Gherla, where he had as a teacher, among
others, the illustrious Ion Apostol Popescu, disciple of the professor Lucian Blaga, with whom he also gave
his license exam.
Vasile I. Bunea has worked in education and culture for years on different levels and administrative
echelons, period in which he attended the courses of the Pedagogical Institute. Having been interested from
a young age in writing, he had his debut in the Tribuna literary circle from Cluj with poetry, together with
the writers Ana Blandiana, and Ion Alexandru, being well received by the literary critics of the time. He
published his poetry in the central and local media.

The waves of life sent him towards the capital, where he lived for 30 years, period during which he worked
as a clerk at a construction- materials firm, then as clerk for the Ministry of Industrial Constructions, in
contradiction with his preoccupations and vocation, but in an environment that completely supported and
understood him.
In these decades, in parallel with his activity paid by the state, he collaborated with magazines and literary
publications such as: Saptamina, Luceafarul, Tomis, Tribuna, Suplimentul Literar Artistic al Scanteii
Tineretului, Flacara, Almanahuri Literare, Albina, Vatra, Romania Lierara, Tribuna Romaniei, Bucharest
radio- stations and Romanian television.
He partook in the literary circles of the time and- at the proposition of the poet Dan Mutascu- he was
officially launched as a poet within the literary circle "Nicolae Labis" of the magazine "Saptamina", by the
writer Eugen Barbu himself.
A short time after, together with the young literary critic Constantin Sorescu he has grounded the literaryartistic circle "Lumina" in the capital
Under the guidence of the professors Serban Cioculescu, Alexandru Balaci, Vladimir Strainu, I. C. Chitimia,
Zoe Dumitrescu- Busulenga, George Munteanu, Vasile Netea, Edgar Papu, Dan Grigorescu and others he
did research in Romanian history and literary criticism.
He had a special relationship with the acad. Alexandru Philippide and Nicolae Steinhardt on the one hand,
who opened his passion towards literary criticism, and on the other hand he had a close friendship with the
student of Lucian Blaga, former high-school teacher Ion Apostol Popescu, who would open his appetite for
Romanian Popular Tradition and Culture and especially for the study of the iconographic phenomenon from
Nicula.
As a consequence of these special relationships, he grounded and ruled the literary circle "Alexandru
Philippide" from Bucharest- after the death of the poet- which functioned until 1990 and he studied the last
two icon painters from Nicula, especially Gheorghe Feur, the ringer and he himself started painting on glass.
He took part in numerous discussions, colloquiums, seminaries, round tables and symposiums, scientifical
communicating sessions in the country and in the capital, he is among the founding members of the
Transilvanian Association of Ethnologists together with Virgil Medan from Cluj, Ion Apostol Popescu from
Gherla, Marza Dan and Radu Saplacan from Dej.
Thanks to a pure conception about the act of creation and its role in the aesthetic education of the individual,
he maintains a friendship worthy of envy with Marin Preda, in whose sanctuary of thoughts and inner revolt
few have been able to enter, despite the first impression he creates.
He maintained a special friendship with Nichita Stanescu, whose mark shows in Vasile I. Buneas writings.
He was one of the ten close friends of the poet, upon whose death he organized a funeral accompanied by
much scandal and surprises from the communist authorities.
As a great achievement of those times, at the recommendation of the acad. Mihai Beniuc, prof. I. C.
Chitimia, acad. Alexandru Balaci, Ion Alexandru, acad. Alexandru Philippide, George Munteanu, Nicolae
Steinhardt and Tudor Opris, he was accepted as a member in the ScientistsAssociation of Romania, in the
Ethnology section.
After 1989, the full value of his art as an icon painter, developer and keeper of the undeniable values of the
Nicula phenomenon having been acknowledged, with much ambition and especially with a duty to help this
art be reborn and bloom, he grounded the National Foundation of Culture and Popular Tradition "St. Mary
and Alexandra"- the Nicula School, then he was requested to organize numerous exhibitions in the country
and abroad, suggestively entitled: "The Holy Book in Romanian", from which we mention:
Germany - Berlin- 1990- April
Switzerland - Basel- 1991- May
Belgium - Malinnes- 1992- February
Romania - Bucharest- 1992- April- National Military Circle
Greece - Salonik- 1992- September- French Institute
- Volos- 1992- October- French Institute
- Patras- 1992- November- French Institute
- Athens- 1992- November- House of the Romanian- Greek Friendship
- Athens- 1992- December- Romanian Embassy
- Athens- 1992- December- French Institute

Cyprus - Nicosia- 1994- April- Hilton Hotel

- Larnaca- 1994- April- Holy Diocese
- Limassol- 1994- April- Hall of the "St. George"s church
Romania - Bucharest- 1994- November- Ministry of External Affairs
- Bucharest- 1995- June- Dalles Hall
- Bucharest- 1995- December- Ministry of Internal Affairs
- Bucharest- 1997- April- World Trade Center
- Bucharest- 1997- June Triumf Hotel
- Gherla- 1998- December- Museum of History
- Cluj- Napoca- 1999- January- "Alianta Artelor" Gallery
- Gherla- 2000- March- Museum of History- French Hall
- Cluj- Napoca- County Inspectorate of Culture and Art "Romanian Spirituality in the Iconic
Imaginary"
- Cluj- Napoca- 2002- December- National Museum of Art, inside the Transilvanian Icon Hall, 2-nd
edition
- Cluj- Napoca- 2002- December- Retrospective exhibition Center of Popular Creation
- Gherla- 2003- Museum of History
- Wien, Austria - 2005
He is the author of 56 works of scientific research in the domains of history, literary criticism, popular
culture, and author of countless articles in the same domains.
He had his editorial debut rather late, but with promising success. The literary critics received him with
interest with exceptions in the country, being a difficult person only in the eyes of the inexperienced.
"...Here I tell you": volume of poems- Bucharest Publ. "Fiat Lux", 1994
" The Architecture of Error": volume of essays- Bucharest, Publ. "Fiat Lux"- 1995
" The Marshall Staff": poems- Bucharest, publ. "Fiat Lux"- 1998
"Ion Apostol Popescu- The Beauty of the Nightingales": - Armenian fairy- tales from Transilvania- publ.
"Ararat"- 2001, 3-rd edition, revised and completed, with an introductive study by Vasile I. Bunea
Here are some quotes from: "Words About the Author"
ALEXANDRU PHILIPPIDE:
"The nervous verse, like his temper, when observed in passing, deceive. His poetry stimulates you to
meditate. A sweet meditation like the one from the ancient philosophers verses"
SERBAN CIOCULESCU:
"Although a student of my dear friend I. A. Popescu, I cannot praise Vasile Bunea. I honestly congratulate
him!"
ION APOSTOL POPESCU:
"Vasile Bunea- the poet, I have discovered in the years of his high- school studies, when he already
surpassed the horizon of teenagers in his verses. His verses are inspired by the authentic village, which
leaves a definite mark on his creation, a mark which we also find of course- in Cosbucs poetry- the one
without an equal."
MIHAI BENIUC:
"Vasile Buneas motivation for writing poetrycomes from his childhood in Blagas Lancram. Could there be
a connection between the two, or a beautiful curse of the muse?"
LAURENTIU FULGA:
"Vasile Buneas writings start with the poem, continue with the literary essay and end with his scientific
works, from which I cannot omit "Eminescu and the Transilvanian Folklore". One day, perhaps, his name
will be signed on the cover of a book. He honestly deserves it."
EUGEN BARBU:
" I have received the "Nicolae Labis" literary circle as a hope to cherish. Although his poetry is sometimes
bookish, it brings with it the concendence of the philosophical verse, demonstrating the possibility of an
intensely prepared poetical elaboration."
NICOLAE STEINHARDT:

"For Vasile Buneas nights of poetry at the House of the Poet from the monastery of Rohia, I must thank him
from the heart. He creates potry of philosophical tension."
NICHITA STANESCU:
" The old Bunea is not a poet. He used to be! Now, he is a spiral breathing through words. Anyway, he has
long passed the border of debut of a lyrical destiny."
MARIN PREDA:
"I am not very good at criticism of poetry, but reading the verses of Vasile I. Bunea, I feel the nerve of an
authentic poetical discourse, I am certain I am reading a poet. And not only that, he also has other writings
that urge you to read, study and memorize them with the utmost attention."
Thanks to projects for the future, his old and lonely parents, the sites of his childhood called him home to
live among his own. Thus, in Oct. 1998, he has returned from Bucharest and resettled in Gherla, where he
discretely continues his creative activity in various domains, doing what he had learned from his masters for
a lifetime.
Vasile I. Bunea has the following books in preparation:
"Jaccuse"- political- autobiographical novel
" Inscriptions on a Bead of Rice"- poems
In collaboration: (collectively)
"The History of the Town Gherla from the Beginnings to the Present"
In collaboration with the priest Gavril Pop, he has organized and arranged in a building belonging to the
Museum of History in Gherla a valuable museum of icons painted on glass ( the most valuable in the area)
1, 2 or even 3 centuries old, from the School of Nicula, Laz, Maierii Albei Iulia and Fagarasi as well as
other icons painted on wood, objects of cult and rare church books, with the support of the Greco- Catholic
episcopate from Cluj- Gherla.
He has organized together with ddr. Mihai Mester, the director of the Museum of History from Gherla a
series of symposiums and scientifical colloquiums regarding the culture and traditions of the area.
Many articles have been written about the prodigious activity as an icon- painter of Vasile I. Bunea, but
mostly about the success of his iconographical art, in Romania as well as in the countries he has visited, he
has given interviews for radio-stations and television abroad, he has taken part in TV shows on various
channels in the country and the most interesting fact is that he has held conferences on the theme in the
countries he has visited, popularizing this ancient art, to make the creative genius of the Romania people
known.
The painter Vasile I. Bunea has works in important museums and private collections in Germany,
Switzerland, Belgium, Russia, Yugoslavia, Greece, USA, England, Cyprus, Hungary and Chehia.
A special merit of Vasile I. Bunea is that: according to the requirements of modern research regarding
Romanian iconography on glass, he "scientificized this craft", imposing upon the artists the obligatory
dating of their works, and he personally codified his works for the purpose of individualizing them,
according to thematics and representations, currents and sources of inspiration, so that the painter Vasile I.
Bunea personally gave 250 such codes. Such an aspect has never before been seen in the case of other
painters of icons on glass, which confers the artist priority in this field, priority he will leave behind for the
posterity as his inheritance.
This aspect has been relevant in the foreign press, which has written about him and signaled his presence
with his personal authentic art in so many international and local exhibitions, having been solicited in many
places.
My explanation is a simple one, from the point of view of the art critic: he has combined the art standing at
the basis of the Nicula School with his passion, meticulousness, personal works and the rigor- be it artistic
or lucrative, even if it doesnt strive towards perfection.
Another great "discovery" of the painter Vasile I. Bunea is the adding of a metallic tinge to the colors
through a procedure known only by him at the moment, which enhances the value of his work and gives
different warmth of color to the scene. His endeavors, taken very seriously help us reach the conclusion that
he creates with great passion and infinite love towards God.
I cannot end these quotes from his Curriculum Vitae without noting a few thoughts myself which I have
written about the artist about a year ago:
" A polyvalent personality- writer, poet, painter, Vasile I. Bunea, after a long stay in Bucharest, has answered
the calling of his origins, returning to Gherla, his native town. Lead by his romantic vocation, he came back

with the thought of resuscitating the icon- painter school from the village Nicula in his mind, the school of
"popular art" having a prodigious history. He partially succeeded and partially the results are still expected.
Beyond this mostly administrative ambition, his success is totally in the artistic domain.
This retrospective exhibition- which ahs been organized with the occasion of the inauguration of the
Transilvanian Cultural Center for Conserving and Valorizing Tradition and Popular Creation- Cluj, fully
illustrates the quality of his art. He is no more merely the formerly known "peasant- painter", nor is he the
conquering monarch, hard- working calligrapher working in the monastery, but this time he is the erudite
intellectual who learns from the intelligence and follows the model of other painting "schools" like the one
in Faragas or Maierii Albei Iulia, and returns at the same time, obsessively, underlining through own
achievements- the deep artistic values of the school of Nicula.
His work springs from carefully selected sources and is loaded with the incandescence of his own spirit.
Thus he proposes a formula which can be very actual and is the fittest to be mentioned under the generic
"Tradition and Modernity".
He is the only bridge to reunite, reorganize and rule over these three centuries of history, a period during
which the Nicula painting school has reached its peak."
Univ. Prof. Vasile Radu
- art critic Director of the Center of Popular
Creation - Cluj, Romania
It is certain that Romania is, or has been known all over the world from the point of tourism through the
Dracula phenomenon and myth, which, besides its countless invectives cannot and must non represent the
first page of our civilisation of a great and refined tradition, wich is equivalent or superior to others.
Having entered the history of this people more that three centuries ago, thanks to a miraculous icon
representing the Mother of our Lord, the: Nicula phenomenon , has carved in the conscience of the
Romanian oeople and has become well-known by foreigners, comes back to our attention again for the
possibility to receive thegreatness it once had, has in the present and will always in the universality.
PILGRIMS AT THE GATES OF NICULA MONASTERY
A wooden church and a Romanian peasant
We find ourselves in 1691 AD, when the priest Luca from the village Iclod, situated at distance of 35 km.
from the road between Cluj and Gherla, painted a beautiful icon on wood representing the Mother of our
Lord with the Baby Jesus in her arms. This treasure as if painted at the commandment of God by a servant
of the church wearing the name of the evangelist Lucas, (the first who had painted the face of the Holy
Mother) was bought by a peasant named Ioan Cupse from Iclod for ten ounces of honey and two cheeses.
Later it was donated to the church of Nicula, an authentic Romanian village, situated 3 km. away from
Gherla, where there was a wooden church builit in the year 1557.
About this oasis of enchanting originality and beauty, a place of Romanian spirituality of the most authentic
class, speaks also the Hungarian historian Jozsef Kadar who recognizes not only its vocation but also its
values. Thus, the beginnings of the Nicula Monastery were lost in the mists of those times, the only known
information being that with the passing of thecenturies and historical vicissitudes a new wooden
construction has been erected on the place of the first one.
It is also known that beginning with the year 1659, near the Nicula Monastery a school functioned, which
had an important role in thew elevation of the cultural and literacy level among the peasants.
Being a place of cult and instruction, the first school of icon painting on glas and wood was grounded,
immediately after the first great miracle happened with the authentic icon painted by priest Luca from Iclod.
The Weeping Icon
After this Holy Icon protected and helped the Romanian people in so many challenges, such as the repeated
incursions of the peasants and the Turks, the coming of armies of ather nationality and creed, on the 15-th of
February 1694, a group of Austrian officers entered to see the wooden church of Nicula. On the sight of this
icon of unsual beauty, walking around it with hidden thoughts looking at it carefully and observing its every
detail, to everyones astonishment they saw the Holy Mother of the icon weep ! There vere real tears
flowing from her blakj eyes !

Stupified by what happened, the foreign officers ran to the village priest named Mihaiu (a sixty years old
man, known in the area as religious, honest and kind) who arrived to the site together with the firstforeign
witnesses. They saw the icon weeping.
The news spread quickly in the small village Nicula. The women came to wipe with their hand-made linen
handkerchiefs the tears of the Mother of God, who not stop crying.
The first phenomenon peresisted with short intrerruptions until the 12 th of March, that is, 26 days.
Sometimes the interruptions were of a few days, other times the weeping was unintterrupted, it went on day
and night, period during which the pilgrimage has been constant, people coming from every village in the
area. Thousands and thousands of Christians came, sick people were brought who were haled by Holy
Mothers tears.
To authenticate this God-Given miracle, the fact was also confirmed in a protocol signed by the officers of
the garrison from Dej, but the hidden thoughts for which the Holy Mother had stared to weep were only to
be materialized in the count of Corniss decision to move the icon from the Monastery of Nicula to his
castele in the villageBenediug.
With great ceremony, accompanied bz the music of a marching band, with church sons in a solemn
procession of adoration and glorification in which thousands of Christians from the valley of the Somes took
part, on the 12-th of April 1694, the Holy Icon was placed in the chapel of the castle from Benediug, in the
presence of authorities and military as the civilians, disappointed because of the injustice that the God-given
gift was being taken from them.
During the time in which the holy icon harbored in this village, other facts had occurred. Thus, the count
Cornis Sigismund, who could not father children through the fervent prayers addressed to the icon of the
Holy Mother the gift of God to have a son born in his family.
To prove its miraculous powers a churchly commission came to Benediug made of three Jesuit fathers who,
after learning the truth, wanted to take the icon to to Cluj. Against this proposal protested first of all the
count Cornis and the Christians from the surrounding villages, among whom the most vehement the people
of Nicula, coming out with scythes, hoes and pitchforks to Benediug making a big uproar.
To avoid certain confessional social turbulence, the authorities decided that the icon was to be given back to
the Nicula Monastery, which happened on the first Sunday after Christmas of the year 1695 to the
satisfaction and joy of those who knew to protect and this spiritual treasure.
We must also mention the historically important and truly authentic fact that the Emperor of Vienna himself
ordered that the icon should return to the church of its origin "where any believer of any nationality has the
right to go and devote themselves to the Holy Icon".
This decision was made as a consequence of the Nicula trial filed against the count of Benediug. The
decision made by the Emperor was convenient to both parties and as aconsequence the wifw of the count
tried to convince her husband to rebuild the old wooden chuch, the one still standing today, and offered the
two bells as a gift, one of them having been made in 1410, the one from their castle, and the other one
especially meant for the monastery.
An Iconographical Painting School in a Transilvanian Village
Right after the conflict hat faded away a paintingf school started to develop at the monastery and even in the
village Nicula iconographical painting on glass, where, at the beginning the miraculous icon had been
reproduced, and later, other individual or group biblical themes have been painted. The school became soon
enough famouus all over the world, the tradition of which is still kept today by the hard work of a small
group of people.
In the year 1948, after the coming to power of the totalitarian communist regime, by the initiative of the
people living in the Nicula monastery and with the support of the villagers, the miraculous icon had ben
hidden at various conspirative addresses in the vilasge Lunca Bontului until the year 1964, then under the
pressures of the atheist communist authorities for preventing the pilgrimage of thousaunds every year to the
religious celebration on the 15-th August- the day of the Holy Virgin Mary- the icon was moved for a long
time into the chapel of the Ortodox Archiepiscopate from Cluj.
In was entrusted to the Restauration Laboratory near the Transivanian Museum of History from ClujNapoca in the year 1991, from where the rejuvenated, splendidly reconditioned face was brought back to the

Holy Monastery of Nicula on the 24-th March 1992. After the mass held for the Celebration of the Mother
of our Lord, in which thousands of Christians tok part, the procession started towards Nicula Monastery.
The icon of Nicula appears, from religious point of view, as an affirmation of the Mystical Resurrection of
Christ, or as an action of the visual memory of the apostolic creed. Last but not least, it appears to us as a
capacity to accept the manifestation of the divine of the saints gift, through matter.
The first grerat Romanian researcher, who preoccupied by the subject was prof. Ion Apostol Polescu, who
managed to print the first treaty about the Nicula phenomenon entitled " The Art of the Icons on Glass from
Nicula ".
Thanks to its open attitude towards the nation and the world, the Nicula phenomenon was re-vigorated
through the emergence of new and valuable , among whom we mention: Maximoaie, Chiforoaie, Gheorghe
Feur-the ringer, the monk Harion Muresan, Marian Mustea senior and others. With the gift I have
managed, I have managed to make this elevated popular art known, the Nicula phenomenon, in countries
like Belgium, Germany, Switzerland, Cyprus, Greece, ( in perspective: Austria, England and Argentina)
where not only did it have success, but the works have ben purchased by great museums of the capitals, by
great and holy places of cult, imposing themselves through their force, religiousness and acxcuracy as
values among univesal values.
Vasile I. Bunea
painter and vriter
TECHNICAL FILE

The icons have been painted with good quality oil paints, which guarantee a long tenacity (of several
centuries, as the paintings in Nicula have shown) and a more accentuated chromatics in time.
They have been painted on a specially chosen glass, with a greenish hue at the edge of the carving that
confer it qualities specific to this craft. The drying of the painting has been done exclusively in a natural
way, artificial thermal agents having been entirely avoided.
The thickness of the glass varies according to the size of the paintings theme. Usually the thickness of the
glass is of 3 mm.
The specific weight of a regular icon is of 800 gr. together with the framework.
The icons have been framed in a framework made of fir slats (well dried for 2-3 years), given a specific
tinge, with a thickness of 2.5 cm, characteristic to the craft practiced in this century. The works are provided
with well-fixed climbers that permit their suspension in an exhibition or in their place of keeping in a
collection.The paintings are provided with cardboard on the back for protection against external agents in
the exhibition environment, as well as humidity and temperature.
The icons are signed by the author and dated, they are coded and registered in our catalogue, in which all the
themes discovered and worked on in Nicula are put into an inventory, or they have been given new
catalogue number as a new theme. They wear the official stamp of the National Foundation for Tradition
and Popular Culture.
In this sense the paintings have been given a tag on the back. The tag contains the identification data of the
painting: the described theme, dimension, author, year of painting and the specific code of its theme.
The number of icons proposed for this exhibition (it can also be itinerant), in order that the biblical theme is
respected, is of 80-100 paintings, their dimensions being between:
15/20 cm. minion icons
25/20 cm.- small icons
35/25 cm.- middle-sized icons
45/35 cm.
60/80 cm.- large icons
The paintings can be presented on fixed panels, or suspended, according to how the exhibition halls permit.
Inconveniences that might arise during the mounting of an exhibition can be taken care of with simple
solutions on the site.
The Monastery of Nicula

- Sumary Nicula is an old Romanian village which enjois an ever increasing good reputation in the world, it situated
at about 5 km. From the little twon of Gherla, and at avbout 52 km. From Cluj.
They say the its name comes from an anchoret called Nicolae, or, maybe from that of the poatron saint
of its church, St. Nicolas. This viilage dates from the XI/th century.
The villagers of Nicula are wellknown as thay are carrying one of the oldest traditions in glas painting of
Transilvania. Among their basic ocupations, agriculture and animal breeding are to be firstly mentioned.
Their folklore seems to be very old and very rich Their customs and beautiful traditions related to
Christmas, JesusResurrection, to the Pentcost, to the celebration of St. Mary, St. George, St. John an d
other religious feasts, witness of a rich and bright spiritual life.
The wooden church about the Monastery of Nicula which is to be founds in documents dating from
1552, has undergone several restaurations and it is regarded as a real jewel for its exqusite
architectural composition.
The Big Church ( raised between 1875 and 1879 is a large one and it was conceived in Roman stzle. Its
iconostasis is somehow as it is carved in linden wood and covered with a thin gold sheet.
This wonderful work has been carriedout by S. Kerestesiu of Tasnad, a wellkknown artist many times
reward with several medals for his previous masterpieces he of different occasions in our country or abroad
(the International Exhibition in New York 1939- for instance.
One of the icons from the iconostasis represents the Holy Mothe ( 1681). On the same iconostasis one can
see the Lord `s Supper, the Holy Trinity besides many other icons. In the nave we first see Jesus Almighty,
the Holy Trinity, the Holy Precista Surroundded by Angel Jesus ` Baptiyement and the Assumtion of The
Virgin.
The new monastic house, concieved in a beautiful raised by the endeavours of the Superior priest Dumitru
Cobzaru, by thouse of the monks in there and by those of the faithful people, with the blessing and the moral
suport of His High Holiness archbishop
Valeriu Anania.
Among the pilgrimages that take place yearly at Nicula, the most important one is that devoted to the
Assumption of the Holy Mother, celebrated on the 15 -th of August.
Lots of pilgrims pay their homage to the Saint Marie ` s Miracle Worker Icon ! painted by priest Luca of
Iclod in 1681.
They say it first shed by the 15-th of february 1694.
His High Holiness archbishop Valeriu Anania, usually take part in the pilgrimage. On this occasion a
trus oecumenism is realised by the partiicipation of people representing different nationalities.
The icons on glas in Transylvania first appeared at Nicula by the second half of the XVII- th c. The Holy
Precista with Jesus (1681) was one of the first autochtonous for the Niculian artists. They have painted
several cycles of themes like: Holy Precista with Jesus, Mater Dolorosa, Jesus Resurrection, the Holy
Trinity, the Descent of the Holy Ghost etc.
In the Niculian icons on glass several local ethnographical elements, especially those taken from the
wonderful Cristmas carols, have been successfully assimilated.
The persuasive optimism of these icons is strenghtening the faithful people `s
Belief that life is everlaating, and their certitude that death will be defeated, as Lord Jesus said he himself: "
If a man keeps my word, he shall never se death" ( St. John, VII 51), wordsrecalling the idea that " the last
enemy that shall be abolisched is death. For God put all thinge in subjection under His feet" ( Corinthians, l,
XV, 25)
By their preoccupation for the human spirituality, for its adepth by means of composition, drawing and
colour, the painters of Nicula are the true forerunners of some new trends in the modern art.
The Museum which functions by the Monastery is one of the most endoved with icons on glass and on
wood, and it preserves some maste
pieces gathered from all over the Transylvanian country. Some of then are even very old (XVI-th - XVII-th
c.), as for instance: the Holy Mother (1770), Mater Dolorosa, Jesus ` Nativity,the Transfiguration, the
Archangels Michael and Gabriel, etc.

Many icons preserved in the museum of Nicula, like the Holy Mother, the Nativity, the Saviour Judge, Jesus
` Resurrection, Jesus with the Vine, the Holy Trinity with three faces ( which is an extremely rare icon), are
among the finest of the kind and thev fill the lookers` souls with joy, faitth and beauty.
In the same museum, one can also see icons on glass painted by the nowdays artists. In this respect we have
the works of Vasile I. Bunea, Marian Mustea-senior, Pacurar Emil, Ilarion Muresanu, and Martaian Ermone,
or those of Gheorghe Feur- clopotarul a wellknown artist who had been invited to exhibit his paintings in
Japan, nore exactly at Hirosima and Tokio, and whose works had been beautifully gathered in an album
publiched in Japan.
By the Monastery of Nicula there is also a little workshop to be spoken about. It became wellknown by the
composition created here and ouch appreciated either in our country or abroad.
The library of the Monastery comprisses many valuable rare editionns among which some are very old, like
the Varlaam` s Homiliary (1642) or the archbishop Ion Bob`s (1725)
Those nwho consider the Monastery of Nicula as " a true Bethlem of faith and beauty" are perfectly rght.
So, they manage to bring their contribution to its enjoying an ever encreasing fame and appreciation.
Vasile I. Bunea
painted and writher
Le monastere de Nicula
- R`esume`Ancien village roumain qui jouit d`une renomm`ee de plus en plus grande, Nicula se trouve `a une distance
de 5 km. du bourg de Gherla et `a quelque 52 km.de ville de Cluj. On dit que ce village datant du XI-e
si`ecle aurait pris son nom soit `a un anachor`ete quis`appelaint Nicolae, soit `a Saint Nicolas, le patron de
`eglise du village. L`agriculture et l``elevage ont `ete` et sont les occupations de ces paysans qui conservent
la plus anciennw tradition de la peinture sur verre de la Transilvania.
Quant `a leur folklore, il est parmi lesplus riches du pays. Les coutumes li`ees au Noel, `a la Resurrection,
`a la Descente du Saint Esprit, `a la Sainte Trinite, a la Sainte Marie, `a la Saint-Georges, `a la Saint Jean
etc. sont l`_expression d`une vie spirituelle pleine de lumi`ere.
L` eglise en bois du Monast`ere de Nicula mentionnee dej`a dans les documents vers 1552, a subi
plusieurs reconstrucions. Elle est un veritable bijou de composition arhitecturale. Sur le plateau il y a aussi
la grande eglise du couvent, elevee entre les annees 1875 et 1879.
L`iconostase de cette large eglise construite en style roman est sculpte en bois de tilleul dore `a la
feuille.Son auteur est le sculpteur S. Kerestesiu, de Tasnad.Celui-oi a remporte beaocup de prix dont la
Grande Medaille d`Or `a l`Exposition Mondiale de New York (1939).
L`une des icones de l ` iconostase est une rereplique de la Vierge M`ere, peinte sur bois en 1681. On y peut
admirer aussi d`autres icone telles la C`ene, la Sainte Trinite, etc. Dans la nef on peut voir Dieu le ToutPuissant, la Sainte Trinite, la Vierge M`ere entoure des Anges (ou le Synode), le Bapteme et l`Assomption
de la Vierge, etc.
Les cellules et le prieure sont en brigues. Le nouveau batiment monacal, en cours de finissge, reunissant
d`une mani`ere eleve des elements architecturaux autohtones, a ete edifiee le z`ele du p`ere prieur
Dumitru Cobzaru, par celui des moines du couvent, ainsi que par celui des croyants, avec la benediction et
l`appui moral a de Sa Haute Saintete archeveque Valeriu Anania.
Chaque annee a lieu au Monast`ere de Nicula toute une serie de p`elerinages qui culmine avec celui voue
`a l`Assomption de la Vierge le 15 aout. Les p`elerins rendent hommage `a l`Icone de la M`ere de Dieu la
Miraculeuse, peinte en 1681 par le pretre Luca d`Iclod, laquelle a verse des larmes, pour la premi`ere fois le
15 fevrier 1694, apportant des sculagements `a bien des gens.
Au p`elerinage participant d`habitude Sa Haute Saintete l`archeveque Valeriu Anania.Le 8 septembre, au
p`elerinage voue a la Naissance de la Sainte Marie prennent part beaucoup de Hongrois, d`Allemands de
Transylvanie et d`Armniens, dans un veritable oecumenisme.
L`art des icones su verre est apparu en Transyvanie, `a Nicula tout d`abord, au milieu du XVII-e si`ecle. Les
paysasns de Nicula et d`autres villages transylvains l`ont mene `a la perfection, realisant de vrais chefrsd`oeuvre du genre.

L`icone de la M`ere de Dieu en a constitue le premier mod`ele autochtone.Ces paysans ci doues on paint
sur verre divers cycles de themes tels la Vierge, `a l`Enfant Je Mater Dolorosa, la Resurrection, la Sainte
Trinite, la Descente du Saint-Esprit, les " saints des saisons".
Cet art doit etre conserve et stimule parce qu`il tient au genie du peuple et qu`il offere de riches
perspectives aux art plastic. Dans les icones representant la Sainte Vierge, la Nativite, la Bapteme la
Multiplication des poissons, Dieu Tout-Puissant, l`Entree `a Jerusalem, la C`ene, Jesus en Croix, la Mise
au Tombeau etc. `a la veine christienne on a asimile d`une mani`ere des elemens etnographiques locaux
pris surtout aux cantiques de Noel. Ces icones constituent une apotheose de la vie. D`ailleurs Seineur disait:
"Si quelqu`un garde ma parole, il ne mourra jamais" (St.Ev.Jean, VIII, 51),ou encore: "l`ennemi qui sera
detruit le dernier, c`est la mort Car Dieu a mis toutes choses ses pieds." (Corinth. 1, XV,26)
Les icones representant la Descente du Saint-Esprit, la Sainte Trinite et d`autres emanent un infini amour
pour l`homme. Par leur preoccupation pour spiritualite et la profondeur humaines, par la couleur, par la
composition et le dessin, les maltres de Nicula sont de vrais precurseurs de vertaines orientations dans l`art
du XX-e si`ecle.
Le musee du monast`ere est l`un des plus riches en icones sur verre et sur bois, provenant de toutes les
reggions de la Transylvanie, quelques-unes tr`es anciiennes (XVI- e XVII-e s.). Il faut en mentionner la
M`ere de Dieu- 1770, Mater Dolorosa, la Nativite, la Transfiguration, les Saints Archanges Michel et
Gabriel. Des icones sur verre comme: la M`ere de Dieu, la Nativite, la Resurrection, la Sainte Trinite `a
trois visages extrement rare-, Jesus et la Vigne vous remplissent le coeur de foi chretienne et
d`eurythmie.
Le musee garde aussi des icones contemporaines sur verre, pentes par Vasile I. Bunea, Marian Musteasenior, Pacurar Emil, Ilarion Muresanu, Martaian Ermone et par le paysan Gheorghe Feur-clopotarul. Ce
dernier a expose ses oeuvres au Japon, ou l`on en a edite un merveilleux album.
La bibliotheque de couvent pos`ede des livres precieux comme par exemple l`Evageliars de Varlaam
1643 et la Bible de l`archeveque Ion Bob 1795.
Ceux qui consid`erent le Monast`ere de Nicula com "un vrai Bethleem de la foi et de la beaute " et qui
repandent sa renommee p`artout dans le monde ont parfaitement raison.
Vasile I. Bunea
ecrivain et peintre
Das Kloster Nicula
(zusammenfassung)
Nicula ist ein altes, einem standigen Weltruhm strebendes Dorf etwa 5 km. vom Marktflecken Gherla und
52 km. von Klausenburgentfernt. Man sagt, der Name kame von einem Einsiedler namens Nikolaus oder
vom Heiligen Nikolaus, der Schutzheilige der Dorfkirche. Diese rumanische Ansiedlung existiert seit dem
XI.Jahrhundert.
Die Derfbewohneerbeherbergen eine der altesten Glasmalerei-trasitionen aus Siebenburgen ihre
Hauptbeschaftigung war Ackerbau und Viehzucht und ihre Folklore und Volkskunst ist eine der
reichhaltingsten.
Die Sitten und Brauche zu Feiertagen wie: Christi Geburt, Jesus Auferstehung, Die Ausgiessung des
heiligenGeistes, Marias Himmelfahrt, Die Heilige Dreieinigkeit, Der Heilige Georg, Die Geburt des
Heiligen Johannes des Taufers u. a. sind Ausdruk eines erhellten seelischen Lebens.
Die Holzkirche des Klosters Nicula ist seit 1552 erwahnt, wurde oft renoviert, da esein Kleinod der
architektonischen Komposition darstellt. Auf dem Hugel befindet sich die Grosse Kirche, erbaut zwischen
1875-1879:sie ist sehr geraumig und weist romanischen Stil auf.Die Ikonostas eigenarting und wurde in
Lindenholz geschnitzt und vergoldet von S. Kerestesiu aus Tasnad.
Bei der Weltausstellung in New York erhielt es 1939 eine Auszeichnung.
Eine Ikone der Ikonostas ist eine Nachhmung der Heiligen Maria, die 1681 auf Holz gemalt wurde. Dazu
gehoren auch: Das Abendmahl, Die Heiligie Dreieinigkeit u.a. Im Schiff an den vier Wwolbungen treffen im
Vordergrund Cristus Pantokrater, Die Heilige Dreieinigkeit, Die Heilige Maria, Die Engelschar, Cristus
Taufe an, und im Hintergrund Das Entschlafen der Gottesmutter.

Die Monchklausen und die Abtei wurden aus Ziegelsteinen gebaut. Das sich in der Endphase des Aufbaus
defindliche Neue Monchs haus mit einer Kapelle dem Heiligen Nikolaus gevidmet, wirkt dadur anziehend,
da es Elemente der einheimischen Architektur aufweist. Es wurde durch die Bemuhungen des Abtes
Dumitru Cobzaru der Glaubigen und Segen und die moraliusche Hilfe des Erzbischofs Bartolomeu Valeriu
Anania erbaut.
Jedes Jahr findet in Nicula am 15 August anlasslich des feiertages das Entschlafen der Cottesmutter eine
riesinge Pilgerfahrt statt. Die Reihe der Pilgerfahrten beginnt eigentlich am Feiertag Marias Verkundigung.
Die Pilger jommen um der wundertatigen Heiligen Maria Ehre zu erweisen. Diese Ikone wurde 1681
vom Pfarrer Luca aus Iclod gemalt.
Diese " weinende" Ikone soll am 15 Februarerstmals geweint haben und somit viele Schmerzen gelindert.
An der Pilgerfahrt beteiligt sich gewohnlich auch der Erzbiscxhof Bartolomeu Valeriu Anania und erteilen
der Menge ihren Segen.
An der Oilgerfahrt, die am 8 September anlasslich des Feirtages Marias Geburt stattfindet, nehmen auch
vielw Ungarn. Armenier teil, somit wird die Pilgerfahrt ein Volksfest.
Die Glasikonen entstanden erstmals in Transilvanien und zwar in Nikula in der zweiten Halfte de XVII.
Jahrhunderte zugleich mit dem Vorhandensein der notigen technischen Werkzeurge. Die
NiculaerVolkskunstler und die aus Transilvanien bringen diese Kunst zur Vollkommenheit, stellen wahre
Kunstwerke her. Die Ikone der Gottes Mutter von Nicula bildet eines der ersten einheimischen Modelle
neben Bibel, Leben der Heiligen, Folklore und Volkskunst.
Die begater Bauern aus Nicula haben verschiedene Themen gemalt> es gibt sehrwertvolle Varianten, unter
andern die Kompositionen Heilige Maria mit dem Kindlein im Arm, die trauernde Gottesmutter, Christi
Auferstehung, die Heilige Dreieinigkeit, die Ausgiessung des heiligen Geistes, " die Heiligen der
Jahreszeiten "Beschutzer der Menschenarbeit.
Die Glasikonenkunst muss bewahrt und weitergefuhrt werden, weil sie dem Volkagenius entspringt und der
einheimischen und auslandischen Plastik reiche Perspektiven eroffnet.
Die Glasikonen mit der Heligen Maria, Jesus Geburt, die Tau Vermehrung der Bische, Jesus Pantokrator, der
Binzug in Jerusalem das Heilige Abendmahl, die Kreuzigung, Beweinung, Auferstehung, die Himmelfahrt
etc. enthalten auch Weinachtsliedmotive und ander Elemente der einheimischen Etnographie.
Dessen Optimismus ist altumhullend, verteidigt den Antrieb, dass die Menschen ewig in frieden leben
sellen, dass der Ted uberwunden werden kann und der risige Lebensstrom kein Ende hat.Jesus sagt klar
"Wer mein Wort ein der wird das ewige Leben haben" ( Der Heilige Evangelist Johann, VIII, 51), indem er
uns daran erinnert, das "Gott alles bewalti und der letztePeind, der vernichtet wird, der Tod ist" (Corinthen
XV,26)
Die Ikonen die Ausgiessung des jeiligen Geistes, die Dreienikeit u.a. strahlen eine unendliche
Menschenliebe aus. Es wurde eigentlichdarauf hingedeutet, dass "durch ihre Beschaftigung fur das Geistige
und die menschliche Tiefe, durch Komposition, Farbe, Zeichnung die Meister von Nicula echte Vorganger
mancher moderner Orientierungen der Kunst unserer Tage sind".
Das Museum des Klosters Nicula ist eines der reichsten an Holss und Glasikonen und beherbergt wahre
Meisterwerke. Hier befindensich Holzikonen aus der Maramuresch, vom Somesch und aus andern Teilen
des Landes, die aus dem XVI- XVII.
Jahrhundert stammen wie die Gottesmutter (1770), die trauernde Gottesmutter, Geburt Jesus,
Gottesoffenbarung, die Heiligen Erzengel Michael und Gabriel, sowiw ausserordentlich wertvolle
Glasikonen aus allen Teilen Transilvaniens. Glasikonen mit Gottesmutter, Cristus Geburt, Auferstehun Jesus
der Richter, Jesus mit der Weinrebe, die Dreieinigkeit mit drei Gesichtern sehr selten etc. erfullen einem
die Seele mit Frommigkeit und Sconheit.
Im Museum befindensich noch von jetzigen Meistern bemalte Glasokonen, vie des Vasile I. Bunea, Marian
Mustea-senior, Pcurar Emil, Martaian Ermone, Ilarion Muresanu, Gheorghe Feur der Glockner, Baus
ermaler mit Ausstellungen in Hiroshima und Tokio, lobpreisend gewertet, und dessen Werke auf
Illustrationen in Japan nachgeahrt wurden, oder die des Marian Mustea.
Im Kloster Nicula gibt es eine Verkstatt der Glasikonen und die Klosterbibliothek umfasst wertvolle alte
Ausgaben wie Cazania von Vaarlam (1643) oder die Bibel des Bischofs Ion Bob (1795). Mit Recht wird das
Kloster Nicula als "ein wahres Bethleehem des Seele und der Schonheit genant", dessen Namen weit in der
Welt beruhmt ist.

Vasile I. Bunea
- vrither
POVESTEA ICOANELOR
Lucrurile simple par sa fie de la sine intelese si lumea nu le mai ofera atentie. Dar ele trebuie
spuse. Caci sticla icoanelor indeplineste o dubla functie si anume cea de suport, dar si de strat protector al
picturii. O pictura care izbucneste din interior inspre exterior, prin straturi successive de culoare, a caror
adaugare nu suporta corectarea. Pictura dupa sablon, pe dosul sticlei. Hinterglasmalerei.
Cuvantul icoana vine din grecescul eikon. Semnifica un portret, dar nu un portret al laturii fizice, ci
a celei transcedentale, destinat sa comunice spiritului, intr-o redare nu a materiei, ci a continutului care se
gaseste dincolo de faptura fizica.
Aparitia fenomenului icoanelor pe sticla in Transilvania se datoreaza unei confluente fericite a mai
multor factori. Tehnica picturii pe sticla, cunoscuta conform surselor documentare inca din penultimul secol
dinaintea erei noastre, a primit un avant deosebit in secolul al XVIII-lea, datorita existentei in Europa
Centrala a asa numitelor glashutten de unde provine si termenul popular romanesc glajarii manufacturi
de sticla.
Ramura a artei culte central europene, pictura pe sticla a nascut in prima jumatate a secolului al
XVIII-lea, atat primele tablouri populare pe sticla, hinterglasbilder cat si un exod de colportori in teritoriile
invecinate, in speta Transilvania.
Totodata, romanii aflati in centrele de manufactura a sticlei din Boemia, Moravia sau Slovacia au
adus aceasta tehnica pe taramurile lor natale, unde ea s-a suprapus peste fondul ancestral de creatie
populara.
Necostisitoarele icoane pe sticla au inlocuit repede icoanele pe lemn realizate in Moldova si
Muntenia, pictate dupa traditii izvorand de la Muntele Athos. Ca urmare, chiar si cei mai saraci tarani
romani isi puteau permite sa agate pe perete, intr-o nepretentioasa rama de brad, o sclipire din lumile ceresti
si o divina promisiune de mai bine, in bezna conditiilor socio-economice din epoca.
Pana si tematica icoanelor a devenit tributara nevoilor diverselor bresle mestesugaresti. Tabacarii
isi cumparau icoane cu Sfantul Ilie, brutarii cu Sfantul Haralambie, apicultorii le cautau prin targuri pe cele
cu Sfantul Iov iar militarii, bineinteles, pe Sfantul Gheorghe, cel care a invins balaurul.
Si totusi, poate fenomenul icoanelor pe sticla nu ar fi capatat amploarea care a permis acestei arte
populare sa reziste atator vremuri, daca nu ar fi fost neobisnuita intamplare din ziua de 15 februarie 1694,
din satul Nicula, localitate situata astazi in judetul Cluj.
O icoana pe lemn, reprezentand-o pe Maica Domnului ar fi inceput sa lacrimeze in bisericuta
niculenilor. Minunea a facut ca zeci de mii de pelerini sa vina la Nicula, pentru a sa se inchina icoanei.
Centre specializate in icoane pe sticla din Bavaria si Boemia si-au dedicat productia vanzatorilor
ambulanti care veneau la Nicula. Nu peste mult timp, niculenii au inceput ei insisi sa produca icoane pe
sticla, copiindu-le pe cele straine si in special pe cele de la Sandl (Austria).
Se spune ca la acea vreme, nu era casa in Nicula in care sa nu se zugraveasca icoane pe sticla,
avand loc pana si o diviziune a muncii: femeile copiau sablonul si il umpleau cu culori, de multe ori
barbatilor revenindu-le doar sarcinile de tamplarie.
In timp, mesterii iconari plecati din Nicula au raspandit aceasta arta in intreaga Transilvanie. Un
centru de pictura al icoanelor pe sticla a existat insa si in paralel cu cel de la Nicula, in Maramures. Datorita
concurentei, unele familii de niculeni s-au stramutat, ajungand pana in sudul Transilvaniei, in Tara Barsei,
Sebes Alba, Sibiu sau Fagaras.
Marea epoca a icoanelor romanesti pe sticla incepe la mijlocul secolului XIX perioada in care se
evidentiaza personalitati artistice puternice care se rup de obiceiul de a isi pastra creatiile anonime, asa cum
faceau primii tarani care zugraveau icoane pe sticla, considerandu-se simplii mestesugari. Pentru a aminti
doar cateva nume care au creat o autentica arta romaneasca ii vom mentiona pe Ionita Zugravul (Brasov),
Savu Moga (Arpasul de Sus), Ion Pop (Fagaras) sau Maria Chifor (Nicula) cea care desena 10 icoane pe zi.
Arta icoanelor pe sticla a inceput sa se stinga la inceputul secolului XX.
Concurata de primele litografii, icoana pe sticla a fost data uitarii de catre tarani si privita cu
retinere de catre oraseni.

Cum insa in viata lucrurile sunt relative, odata cu aparitia in forta a picturii moderne, a
Manifestului cubist a lui Picasso, a picturilor nave semnate de Henri Rousseau, zis Vamesul, icoanele pe
sticla au reinceput sa fie la mare cautare, fara a putea fi totusi integrate in curentul picturii nave.
Criticii apreciaza violenta culorilor, imposibilitatea autorilor de a respecta canoanele picturii
clasice, abstractizarea formei, licaririle unice datorate imperfectiunilor foitelor de sticla ce ieseau din
primele glajarii...
Organicitatea formelor si forta bruta a culorilor, desenul stangace pot arata insa ceea ce afla
dincolo de imaginea gata a imprima retina : durerea nesfarsita a Maicii Domnului sau neantul din sufletele
celor care odata au asistat la rastignirea Domnului Iisus Cristos.

PRECIZRI:
Icoanele pe care le puteti privi in sectiunea Icoane spre vanzare sunt creatii
unice, ca mrime i culoare, unori i ca ram.
Intre modelul expus pe site si cel care va fi creat de artist pentru dvs. pot exista
mici deosebiri nesemnificative, cum ar fi intensitatea culorii.
Acest fenomen, asa se intampla inca de cand au inceput sa se picteze icoane pe
sticla in Transilvania i nu numai.
Odata ce ati ales icoana care va place, retineti codul acesteia si accesati
sectiunea Contact.
Completati formularul propus cu indicarea codului respectiv al icoanei.
Pictorul Vasile I. Bunea, va va contacta si in caz ca icoana nu este deja pictata,
asteptand un camin sau o persoan anume care a comandat-o, pictorul va va
comunica/spune in cat timp va picta icoana aleas de dvs.
Precizai dac ridicai personal sau nu icoana pictat i n ct timp avei nevoie
de ea. n caz contrar Icoana va fi pusa la Posta sau la un serviciu de curierat rapid, iar
dumneavoastra o veti plati la ridicare, incluzandu-se preul si cheltuielile de transport.
Nu va faceti griji pentru integritatea icoanelor pe parcursul transportului.
Pictorul Vasile I. Bunea, are ani buni de experienta in manuirea cu grija a icoanelor,
stie cum sa le impacheteze intr-un invelis protector, pentru ca dumneavoastra sa va
puteti bucura pe deplin de aceste autentice creatii populare.
FORMULAR DE COMAND ICOANE PE STICL:
Acest formular se va trimite pe email la adresa: vasile_i_bunea@yahoo.com
Numele i prenumele dvs____________________________
Adresa:
Localitate:________________________________________
Str.______________________________Nr._____________
Bloc.______________ Sc._________Et._________Ap.____
Cod. Potal:_____________
Jude___________________
Oficiul potal:_____________________________________
Adres de email:___________________________________
Modalitate de primire a icoanei:

- Personal
- Prin pota
- Prin curierat rapid
Accept s achit C/V icoanei n sum de lei:_____________

Adresa mea este:

Vasile I. Bunea
Municipiul: GHERLA
Aleea Staruintei Nr. 15
Bloc: C-48, Sc. 4,
Et.1, Ap.41
Cod. Postal 405300
Jud. Cluj
Of.Postal: GHERLA
Tel. 0264/241.382
Mobil: 0724/670985
Emeil: vasile_i_bunea@yahoo.com