The analysis of plants featured in Baroque artworks on the eastern Adriatic coast has not previously been the subject of an in-depth study. The study of plant iconography in Baroque sacred artworks, ...which are mostly paintings, was carried out in eight churches and monasteries on the Pelješac peninsula in southern Croatia. Taxonomic interpretation of the painted flora on 15 artworks led to the identification of 23 different plant taxa (species or genera) belonging to 17 families. One additional plant was identified only by family taxonomic rank. The number of plants was relatively high, and most species were considered non-native (71%, "exotic" flora) phanerophytes. In terms of geographic origin, the Palaearctic region (Eurasia) and the American continent were identified as the main areas of plant origin.
,
, and
cf.
, were the most common species. We think that the plants were selected for decorative and aesthetic reasons, as well as for their symbolic significance.
U radu su autori obradili nekoliko dosad nedovoljno poznatih hrvatsko-albanskih kulturnih odnosa, sagledanih ponajviše kroz prizmu odnosa Dubrovnika s albanskim područjima i Kosovom. Kroz osobnost ...nadbiskupa Petra Bogdanija iz 17. stoljeća ukazalo se na kulturološki okvir bilježenja prvih rimskih natpisa u Skadru, ali i na novovjekovne i srednjovjekovne epigrafike na području Albanije i Kosova, s iznimno važnim natpisima iz crkve sv. Srđa i Bakha na Bojani.
The authors deal with several insufficiently explored Croatia‒Kosovo cultural relations through the prism of Dubrovnik’s connections with Albanian areas and Kosovo. In the context of archbishop Petar Bogdani's personal idiosyncrasy in the 17th century, the authors point out the cultural framework of recording the first Roman inscriptions in Shkoder, as well as modern and medieval epigraphs in Albania and Kosovo, and inscriptions from the Church of Saint Sergius and Bacchus on the Bojana River.
Benediktinski red, kao i svugdje u Europi, ostavio je dubok kulturni trag i na dubrovačkom području. Nekadašnji ženski bendiktinski samostan sv. Marije od Kaštela ima iznimno značenje za hrvatsku ...kulturu i baštinu, sve od spomenika arhitekture hrvatskih renesansnih graditelja - braće Andrijića s početka XVI. stoljeća, do hrvatske književnice Benedikte Gradić koja je djelovala u ovom samostanu. Isto tako od prvoga poznatog spomena samostanske glavarice iz 1204., koja je nosila hrvatsko narodno ime Marislava, do francuske okupacije samostan sv. Marije od Kaštela u Dubrovniku bio je važno marijansko svetište Gospe od Kaštela, čija je izvorna slika 1253. prenesena u romaničku prvostolnicu. Dubrovnik posjeduje bogatu baštinu iz ukinutih susjednih benediktinskih samostana, kao i vrijednih moćnikâ i slikâ sačuvanih danas u dubrovačkoj prvostolnici i biskupskom sjemeništu.
The Benedictine order, like everywhere in Europe, has left a deep cultural trace in the Dubrovnik area. The former women's Benedictine monastery of St. Mary of the Castle has exceptional significance for Croatian culture and heritage, ever since the architectural monuments of the Croatian Renaissance builders - the Andrijić brothers from the beginning of the 16th century, to the Croatian writer Benedikta Gradić who worked in this monastery. Likewise, from the first known mention of the monastery's mother superior from 1204, who bore the Croatian folk name Marislava, until the French occupation, the monastery of St. Mary of the Castle in Dubrovnik was an important Marian shrine of Our Lady of the Castle. Its original picture was transferred to the Romanesque Dubrovnik cathedral in 1253. Dubrovnik has a rich heritage from the abolished neighbouring Benedictine monasteries, as well as valuable relics and paintings preserved today in the Dubrovnik cathedral and the bishop's seminary.
Dubrovnik je važan kulturni i vjerski topos na nacionalnom ozemlju, grad na svojevrsnom raskršću uljudbenih sustava, koji je, uz vjerski i državni kult sv. Vlaha, prepoznat i kao najjužniji grad s ...urbanim svjetovnim kultom viteza Orlanda. Ovim gradskim vjerskim i svjetovnim kultovima u Domovinskom se ratu pridružio i treći – kult sv. Nikole. Na dan sv. Nikole 6. siječnja 1991. godine zbio se najteži napad srpsko-crnogorskih agresora na grad, pa je stoga taj dan proglašen i Danom branitelja Dubrovnika. Vjerski kult sv. Nikole od 1991. godine dobiva tako posve novu dimenziju i priključuje se drugim urbanim simbolima Grada. Sv. Nikola postaje u suvremenoj memoriji Grada kult sveca zaštitnika branitelja Domovinskog rata. Ovdje se radi o posve jedinstvenom fenomenu u razvoju kulta sv. Nikole u svjetskim razmjerima, koji postaje antiratni svetac i svetac obranitelj. Cilj je ovoga rada, na interdisciplinaran način, kombinirajući povijesnu i sociološku perspektivu, steći prvi znanstveni uvid u međusobni odnos koncepata religijskog simbola, identiteta i zajednice na primjeru razvoja, promjene i značenja kulta sv. Nikole u Dubrovniku kroz povijesni kontinuitet do suvremenih zbivanja.
The particularity of the Croatian national identity, seen through cultural and religious heritage, is in its diversity that reflects the Croatian centuries-old reality and various cultural and political influences. The position at the crossroads of civilizations and various influences have largely determined the nature of the Croatian national and religious heritage, which is an integral part of the Western European cultural circle. Dubrovnik is recognizable through its symbol - the Armenian saint St. Vlaho (Blasius), but also as the southernmost city with the urban secular cult of the knight Orlando. After the Croatian War of Independence, Dubrovnik gained the third cult along with two existing ones – the cult of St. Nicholas. It should be noted that the cult of St. Nicholas was never an important cult during the past of the Dubrovnik Republic and was never on the state list of holidays, but it remained in the domain of professional and family saints. The cult of St. Nicholas from the Byzantine Bari expanded to Ragusium, then part of the Byzantine theme of Upper Dalmatia during the 11th and 12th centuries. Through intensive economic ties with the Italian south, during the Anjou dynasty, it was contaminated with the cult of Nicholas the Traveler and established into a recognizable cult of protector of sailors and travelers. The cult of St. Nicholas on the territory of the Dubrovnik Republic got extremely strong following the conjuncture of maritime affairs during the 15th and 16th centuries, and in the 18th century, which can be seen from the construction of churches, chapels, monasteries, altars and through the naming of sailing ships. St. Nicholas is also an identity symbol of the Dubrovnik diaspora in Kosovo in Janjevo. Today Dubrovnik's community has a very specific notion of St. Nicholas as a symbol, because on that day, 6th of December 1991, the most severe attack on Dubrovnik took place by Serbian-Montenegrin aggressors, resulting in numerous human victims and material damage. The aim of this paper is, in an interdisciplinary way - combining historical and sociological perspective, to gain the first scientific insight into the relationship between the concepts of religious symbol, identity and community using the example of the cult of St. Nicholas in Dubrovnik. Research has shown that since 1991 St. Nicholas as a symbol has gained a whole new dimension on a semantic, value, emotional and ritual level. The cult of St. Nicholas thus has become in the modern memory of the city the cult of the patron saint of the Croatian War of Independence veterans. This is a completely unique phenomenon in the development of the cult of St. Nicholas which in this specific community has become an anti-war saint and a saint-defender.
Celotno besedilo
Dostopno za:
DOBA, IZUM, KILJ, NUK, PILJ, PNG, SAZU, UILJ, UKNU, UL, UM, UPUK
Dubrovački dominikanac Serafin Marija Crijević (Dubrovnik, 1686. – Dubrovnik, 1759.) dosada je poznat kao biograf i povjesničar. Njegovu svestranost u ovom radu proširuje se i na likovno područje. ...Prikupio je impozantnu zbirku crteža te slika svetaca i blaženika dominikanskog reda iz suvremenih i starijih publikacija na njemačkom, talijanskom, francuskom i španjolskom jeziku, a one koje su nedostajale, sam je izradio. Format ove dvije svojevrsne male enciklopedije dominikanske ikonografije uvjetovale su francuske grafike dominikanskih svetaca i blaženika, a radi se o skupini od šesnaest grafika francuskog slikara i grafičara Henrija Bonnarta (Pariz, 1642. – Pariz, 1711.) i njegova sina Jean-Baptistea Henrija Bonnarta (Pariz, 1678. – Pariz, 1726.).
A Byzantine processional cross is preserved in the church of St. Nicholas in Žakula in Župa dubrovačka. Past research has dated the cross between the 6th and 10th centuries. This artifact was found ...at the archeological site of St. George’s church, which was most likely constructed between the 10th-12th centuries. The cross is of a tear-shaped type and bears inscriptions that invoke the name of Archistrategos Michael and refer to his Miracle at Chonae. This paper aims to give a new, more precise date for the cross, as well as determining its possible origin and function. Project of the Serbian Ministry of Education, Science and Technological Development, Grant no. 177032: Tradicija, inovacija i identitet u vizantijskom svetu
Kapucinski red, kao plod kasnijeg razvoja franjevačkog redovni-šta, na teritoriju Dubrovačke Republike nije naišao na plodno tlo, jer je državni teritorij već bio pokriven mrežom franjevačkih ...samostana, organiziranih u posebnoj Dubrovačkoj provinciji; isto tako, Republika nije mogla tolerirati djelovanje reda čije se sjedište nalazi na teritoriju druge države. Jedini presedan na području Dubrovačke Republike bilo je djelovanje Isusovačkog reda. Ipak, arhivskim je istraživanjem utvrđen pokušaj gradnje kapucinskog samostana u Dubrovniku, u koji su bili uključeni ugledni dubrovački vlastelini i brodovlasnici. Prvi pokušaj utemeljenja kapucinskog samostana od strane neimenovanih dubrovačkih građana potječe iz godine 1541.; drugi, također neuspio, zabilježen je godine 1587., ali ovaj put novčano potpomognut uglednim imenimaa dubrovačkog plemstva i trgovaca. Dubrovčani koji su djelovali među kapucinima bili su malobrojni, rijetki su oni koji su ostali zabilježeni u dubrovačkoj povijesti. Najistaknutije ime među kapucinima iz Dubrovnika je Mihovil (Miho) Arkanđel Boždarević (1654.-1729.). Kapucini su kao misionari djelovali u Dubrovniku tijekom XIX. stoljeća. U mjesecu studenome 1875. u Dubrovniku je osmodnevne pučke misije vodio o. Roberto Menini, rodom Splićanin. On je osmodnevnu duhovnu obnovu stavio pod zagovor Gospe Presvetog Srca Isusova. Kao vrstan propovjednik oduševio je Dubrovčane za tu pobožnost i predložio im je da na spomen duhovne obnove nabave Gospin kip, što se i zbilo. Danas se taj kip čuva na baroknom oltaru altarista Giuseppea Sardija u franjevačkoj crkvi Male braće u Dubrovniku. Nastojanjem dubrovačkog biskupa Josipa Marčelića ocima kapucinima predano je svetište Gospe od Milosrđa na Lapadu godine 1913., uz koje se utemeljuje kapucinski samostan. Gospa od Milosrđa i oci kapucini postali su sinonimom za marijansku pobožnost i svetište pomoraca, koji su u ovoj crkvi ostavili brojne zavjetne darove.
U povijesti Dubrovačke nadbiskupije osamnaesto je stoljeće
iznimno zanimljivo, zbog činjenice što dubrovačkim nadbiskupima
ponovo postaju Dubrovčani, a ne više stranci. Nadbiskup Rajmund
...Gallani/Jelić jedan je u nizu Dubrovčana koji su djelovali na
Levantu, osoba koja je svojim misionarskim radom bila vezana uz Malu Aziju, gdje je bio naslovnim nadbiskupom Ankare i usko je surađivao s Armencem Mkhitarom, utemeljiteljem Mhitarističkog reda Armenske crkve. Za nadbiskupa Nikole Puljizevića (1767.–1777.), nekoć biskupa Nikopolja u Bugarskoj, utemeljuje se kapelanija u Majkovima, a za nadbiskupa Grgura Lazzari/Lazzareva (1777.– 1792.), Dubrovčanina bugarskog podrijetla, župa Banići. Tijekom XVIII. stoljeća, za gospodarskog prosperiteta, obnavljaju se i grade nove župne crkve i bogati pučanski sloj nastoji svojom slobodnom voljom utemeljiti nove župne crkve i kapelanije na teritoriju Dubrovačke Republike.
Dubrovnik, as an important trade centre between the East and West, was the meeting place of different peoples and cultures. Among the many foreigners in Dubrovnik there were also the Armenians. A ...special bond between Dubrovnik and Armenia is also the cult of the city's patron saint St. Blaise from Armenian Sebaste, in addition to the older city patron saints of St. Zenobius and Zenobia, who are originally from Lesser Armenia, as is the cult of the Forty Holy Martyrs of Sebaste. Of the Dubrovnik Armenians, who were mostly traders, the most renowned in history is Giuro Baglivi Armeno. The archbishop Rajmund Jelic from Dubrovnik was a religious leader of the Catholic Armenians in Asia Minor at the beginning of the 18th century and exchanged letters with the priest Mkhitar, the founder of the Armenian Catholic Mkhitarist order. The most important connection between the Armenians and Croats is the Jesuit Josip Marinovic from Perast; he wrote the first history of Armenians in the West, thus laying the foundations of contemporary research of Armenian history in Europe. During the 19th and early 20th centuries the citizens of Dubrovnik maintained their contacts with the Armenians resulting in the archbishop of Sebaste's visit to Dubrovnik in 1902. The interest of Dubrovnik's citizens in the place of birth of their patron saint has continued to the present day, which is proof of a permanent spiritual bond connecting the Croatian and Armenian peoples. Adapted from the source document.
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