Većina stručnjaka i istraživača danas se slaže kako je porijeklo hrvatske naivne umjetnosti vezano uz gla(j)že – slike na staklu, anonimnih autora, uglavnom religioznog karaktera. Rad nastoji ...predočiti puteve kojima su glaže stigle u Podravinu te čemu su služile. Na temelju primjera glaža sačuvanih u koprivničkom muzeju donosi se analiza glavnih motiva i tema koje determiniraju sadržaj, smisao i simboliku likovnih prikaza. Ikonografska analiza obuhvaća povijesne činjenice i legende o određenom prikazu ili svecu, analizu i značenje atributa i simbola, kao i znamen najčešće korištenih boja.
The sepulchral monuments of Noricum and Pannonia dating to the Antonine - Severan period (and later), particularly the aediculae, are characterised by abundant mythological decoration. The central ...mythological scene of a more or less detailed mythological apparatus is one of the three key ingredients used in presenting the deceased or their families, the other two being the portraits and the inscription tablet (all of them placed on the front facade of the monument). The choice of the mythological scenes is guided by the two basic art themes found on Roman sepulchral monuments - death, consolation, and mourning, and, on the other hand, homage to the deceased and his virtues, or mourning and farewell. Both themes correspond to the topoi of funeral poetry and rhetoric. The choice of the individual myths reveals differences between the sarcophagi of Rome and the products of Noricum or Pannonia, as well as between the products of Noricum and of the Pannonian centres.
The article concentrates on interpreting the Narcissus myth in the oeuvre of Gustave Moreau (1826–1898), a symbolist artist who developed the theme in many paintings and drawings, and in the famous ...Metamorphosis of Narcissus (1937, Tate Modern) by Salvador Dalí (1904–1989), which has proved one of the most inspiring and controversial realisations of the myth. A major topic is the relation between the Narcissus myth of symbolism and surrealism on the one hand, and the story of the Boeotian youth as depicted in Ovid’s Metamorphoses on the other. With regard to the works of Gustave Moreau, the study focuses on a new paradigm, which has not been su.ciently investigated, namely the replacement of the traditional image of Narcissus reflected in the pool with a new concept: the concept of reflection as the hero’s introspection. The analysis of Dalí’s much discussed Metamorphosis of Narcissus, on the other hand, tackles the rarely addressed problem of the classical elements employed in this painting.
Angelite: Paziteli na vhoda Gerov, Georgi
Zbornik radova Vizantološkog instituta,
2009, Volume:
2009, Issue:
46
Journal Article
Peer reviewed
Open access
(bugarski) Statijata prosledjava ikonografskata evoljucija na izobrazenijata na arhangelite Mihail i Gavriil, pomesteni pri vhoda na pravoslavnija hram. Povraten moment v neja e 13 vek. Togava ...arhangel Mihail zapocva da se izobrazjava kato voin. S tova apotropejnite mu funkcii namirat adekvaten vizualen izraz. K'm kraja na stoletieto arhangel Gavriil zapocva da se izobrazjava kato pisar - ikonografija, kojato sce b'de dorazvita i utv'rdena prez 14 vek. Prez postvizantijskata epoha v obraza na Mihail se pojavjavat elementi, koito akcentirat v'rhu roljata mu na psihopomp.
nema
(bugarski) Avtor't si postavja zadačata da razgleda zapazenite predstavitelni pametnici na b'lgarskoto izkustvo ot XIII vek predi vsičko kato obščestvena por'čka. Izt'kvat se specifičnite kultove i ...temi v ikonografskata programa na stenopisite na c'rkvata 'sv. Arhangel Mihail' kraj Ivanovo, c'rkvite 'Sv. Pet'r i Pavel' i 'sv. 40 m'čenici' v T'rnovo i c'rkvata 'Sv. Pantelejmon i Nikolaj' v Bojana kato otraženie na duhovnija klimat v b'lgarskata d'ržava i na važnite za izkustvoto sr'bsko-b'lgarski kontakti. Obr'šča se specialno vnimanie na izpolzvani Konstintinopolski obrazci, kakto i na vr'zkite meždu razgleždanite pametnici i vodeščite sr'bski stenopisni pametnici, koito zasega se sčitat za naj-predstavitelni v izkustvoto na cjalata vizantijska kulturna obščnost prez XIII vek.
Dama iz Čikata Martina Blečić Kavur
Arheološki vestnik (Acta archaeologica),
01/2012, Volume:
63
Journal Article
Peer reviewed
Open access
Članek predstavlja reinterpretacijo majhne antropomorfne figurice iz Čikata na otoku Lošinju. Gre za edini poznani primerek keramične figurice z območja železnodobnih kultur vzhodne obale Jadrana. ...Dama iz Čikata je frontalna, abstraktna in nepremična figura. Glede na držo in izraz, atribute, značilno pričesko in označene estetske elemen - te, ki bi jih lahko pripisali kombinaciji nakita, ter zaradi sakralne golote jo je mogoče obravnavati kot skulpturo, opremljeno v tedanjem slogu antropomorfne umetnosti. Zato figurici lahko najdemo primerjave med v članku omenjenimi izstopajočimi primerki keramičnih skulptur, katerih oblikovanost, likovnost ter simbolični zapis kažejo na sorodnost z umetnostjo Etrurije, ki je bila del orienta - lizirajoče koiné, razširjene v 7. st. pr. n. št. Določena kot pomemben ritualni ex voto predmet, je figurica pojmovana v smislu žalujoče svečenice, ki objokujoč “bdi” in tako ustvarja večnost pogrebnega rituala družbeno pomembne pokojnice. Skladno z analogijami bi bila čikatska Dama lahko priložena v lokalni, vendar bogati in pomembni ženski grobnici.
The motif of Icarus is richly represented in small objects, such as gems and cameos, as well as in wall paintings, but appears only rarely in stone sculpture. As pointed out by Arnold Schober, it has ...achieved its greatest popularity in Noricum and especially in Pannonia: outside these provinces, a larger number is represented only in Regio X Venetia et Histria. Icarus is accompanied by Daedalus or one of the Parcae, who is attaching wings to his arms. The majority of the statuettes shows Icarus standing, naked or draped only in a chlamys, with large wings attached to his shoulders. Since the Roman Empire has so few representations of the young hero just before or during the fight, Schober has labelled this motif as a special feature of Norico-Pannonian sepulchral monuments. Most of the statuettes were found in the territory of a Roman necropolis, and they apparently belonged to the decoration of the sepulchral monuments. They usually served as the acroteria of the tympanums of the aedicule tomb, which is confirmed by their more or less rudimentary workmanship and in some cases by a pair of holes in the plinth. Icarus was also one of the rare mythological motifs depicted on the sepulchral monuments of the eastern part of Gallia Cisalpina, where it doubtlessly decorated the acroterium. Statues were found in the necropolises of Aquileia and Altinum. All date to the Julio-Claudian era and resemble those from Noricum and Pannonia. The theme probably came to the Danubian provinces with a time delay through well-established merchant connections. The high-quality fragment from Flavia Solva shows sitting on Icarus’ left side a naked woman, usually interpreted as one of the Parcae, who is securing his wings. In this position she replaces Daedalus, who is sculpted beside Icarus especially from the 5th century BC onward. She might be an allusion to Icarus’ premature death. An almost identical composition is found in a wall painting from Echzell (Germania Superior), where the Parca is replaced with Daedalus, and on a sarcophagus from Asia Minor depicting Icarus’ life. Based on the narrative cycle of Icarus’ life on that sarcophagus, Salvatore Calderone has pointed out a Neoplatonic explanation of the myth: that the fight and fall could symbolise the soul which goes into the sky, from where it falls to Earth again. As Icarus in the Danubian provinces is never shown falling but rather flying or about to take wing (the only exception being the relief from Carnuntum), the image may express a Neoplatonic thesis and the apotheosis of the deceased. The provinces display at least three elementary types: Icarus standing alone with outstretched winged arms – this type probably derives from Aquileia; Icarus in relief, together with the Parca or Daedalus; and the bust of Icarus in the tympanum of the stele or acroterium. The fragment in Joanneum has most probably arrived from one of the Attic sarcophagi, where the Parca often appears by the side of the protagonists who die prematurely.
Iako u Starom zavjetu nema izravne objave Božje trojstvenosti, kršćani su tipološkim čitanjem u mnogim starozavjetnim tekstovima prepoznavali proročke ukaze na Isusa Krista i njegovu objavu Boga kao ...Oca, Sina i Duha Svetoga. Ovakva je kršćanska interpretacija razumljivo opečatila i rukopisne ilustracije koje su kroz mnoga stoljeća u različitim izdanjima
pratile starozavjetne tekstove. U ovom se radu predstavlja i istražuje jedna takva ilustracija. Riječ je o tzv. Psalamskom Trojstvu, ilustraciji prvoga retka Psalma 110. (109.) čiji je ikonografski i interpretativni razvoj spregnut s promjenama teološkog razumijevanja značenja tog psalamskog retka (ponajprije u svjetlu postupne kristologizacije psaltira) i kristološko-trinitarnog sadržaja koji je bitna sastavnica temelja kršćanske vjere. Spomenuta psaltirska ilustracija (koja je vrhunac aktualnosti doživjela u 13. stoljeću) u prvom razdoblju svoga razvoja ikonografski jasno odražava binitetnu (dvojstvenu) sliku Boga, no postupno značajno mijenja svoja sadržajna i interpretativna svojstva te, kao Trojstvo u slavi postaje dominantan trinitaran ikonografski tip kršćanskoga Zapada, posebno u vrijeme Tridentskoga koncila i katoličke obnove. U svom glavnom dijelu rad analizira složenu ikonografsko-teološku pozadinu procesa koji stoji iza razvoja psaltirske ilustracije Psalamsko Trojstvo u ikonografski tip Trojstvo u slavi. Naglašava se kako je u okviru toga razvoja sadržajni naglasak (u smislu poimanja slike Boga) najprije kristološki a onda trinitarani, te da se u psaltirskoj ilustraciji Psalamsko Trojstvo prepoznaje prvi cjeloviti prikaz kršćanske slike Boga kao Trojstva i najraniji antropomorfni prikaz Boga Oca.
Although there is no direct revelation of God's Trinity in the Old Testament, Christians have read the Old Testament texts typologically and have recognized among them the prophetic impute to Jesus Christ and his revelation of God as the Father, the Son and the Holy Spirit. This kind of Christian interpretation is obviously marked also in handwritten
illustrations that have followed the Old Testament texts throughout many centuries. This paper presents and investigates that type of illustrations. It concerns the so called »Trinity of the Psalm«, the illustration of the first line of Psalm 110 (109), which as an illustration of the Old Testament text actually reveals the Christian interpretation of that text, i.e. points to the Christological-Trinitarian content as the foundation of Christian faith (christologization of the Psalter). The paper examines the iconographic-theological development of the illustration from binary to triune, i.e. the development of the Triune God in the image of the heavenly glory from the illustration of the Psalter (that reaches its peak in the 13th century) to the dominant Trinitarian iconographic type of the Christian West, especially at the time of the Trident Council and
Catholic restoration. The main part of the paper analyzes the quite complex iconographic-theological and foremost Christological and Trinitarian content of the »Trinity of the Psalm«, recognizing in that illustration the first complete description of the Christian image of God as Triune, i.e. the earliest direct anthropomorphic depiction of God
the Father.
Vizitacijski zapisniki ljubljanskega škofa Otona Friderika Buchheima (1641–1664) razkrivajo pravilo za dispozicijo svetniških figur na oltarnih nastavkih. Medtem ko titularnemu svetniku pripada ...osrednje mesto v nastavku, se spremljevalci razvrščajo v parih (v vsaki etaži posebej) tako, da stoji višje rangirani na odličnejši evangeljski, nižje rangirani pa na subordinirani listni strani. Pri tem ne gre za individualno odločitev o prednosti enega pred drugim, temveč za splošno uveljavljeno hierarhično lestvico, kot se je skozi čas izoblikovala v litanijah vseh svetnikov pa tudi v himnah oficija za praznik vseh svetih in je po Buchheimovih besedah »v skladu s splošnim čutenjem katoliške Cerkve«. Naša cerkvena umetnost kaže, da hierarhični princip postavitve oltarnih figur v gotiki še ni bil dosledno izoblikovan, odločneje pa se je uveljavil s pozno renesanso in barokom – kar sovpada s časom poenotenja litanij vseh svetnikov za vso katoliško Cerkev –, pozneje pa se je spet začel rahljati, čeprav je obveljal še tja v 20. stoletje.
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