Tri nova posvetna natpisa hrvatskih vladara iz karolinškog perioda / Three New Votive Inscriptions With the Names of Croatian Rulers from the Carolingian Period (original) (raw)
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Iako je proučavanje ranosrednjovjekovne skulpture na istočnoj obali Jadrana u žarištu hrvatske arheološke i povijesno-umjetničke znanosti još od druge polovine 19. stoljeća, tek je prije pedesetak godina inaugurirana metoda povezivanja predromaničkih reljefa u likovnomorfološke cjeline i to ponajprije korištenjem tzv. Morellijeve metode analize umjetničkog djela. U tom je vremenu na prostoru nekadašnje ranosrednjovjekovne hrvatske države prepoznat stanovit broj klesarskih radionica kojima je definiran i opus, a ujedno je preciznije ustanovljeno i vrijeme njihova djelovanja. Navedena metoda rada, koja je u izučavanju ranosrednjovjekovne skulpture dosad korištena tek od nekolicine domaćih istraživača, primjenjena je na svim poznatim predromaničkim reljefima nastalim na teritoriju hrvatske kneževine između Zrmanje i Krke do kraja 9. stoljeća. To je rezultiralo još jasnijom diferencijacijom do sada prepoznatih klesarskih produkcija, zatim definiranjem nekih novih radioničkih opusa, ali i preispitivanjem predloženih datacija za one radionice čije se vrijeme djelovanja nije moglo sa sigurnošću odrediti. U tom su smislu, primjenom detaljne likovno-stilske analize, prepoznate dvije nove klesarske radionice, jedna već odavno poznata još je preciznije datirana, jednoj drugoj predložena je sigurnija okvirna datacija, a proširen je opus gotovo svih klesarskih produkcija.
SCULPTURES FROM ZAGREB, MEDVEDGRAD AND ČAZMA AS DOCUMENTS OF GLORIOUS TIMES
The present article shows the political situation in Northwestern Croatia in the first half of the 13 th century, to be more precisely its second quarter. That period is marked by one of the most fascinating phenomena in the Continental Croatian culture of the Middle Ages when this part of Croatia underwent a true local Renaissance in political, economic and cultural spheres. That happened under the aegis of two most capable leaders, Coloman, the son of Andrew II and brother to King Bela IV, and Bishop Stephen II of Zagreb, the former royal Chancellor of Andrew II. Although this rise was cut short by the Tartar invasion of 1241-1242, the little traces that have survived, represent a totally new quality in the Croatian medieval culture. That parts of art production can be seen not only as quality pieces of art, but also as a document, hard evidence that can show the strength and the power of the political and economic programs of Coloman and Stephen II.
This paper considers some aspects of the very inadequately studied field of the Romanesque figural sculpture in Continental Croatia. The main objective is to provide a balanced view of the local and foreign influences, i.e., to establish a context of both local tradition (e.g., the sculpture in wood albeit know only from non-visual sources), and imported models, i.e., medieval manuscripts , sculpture in metal, and coins all of which were present as imports from the West in the medieval Slavonia. The Romanesque sculpture of Continental Croatia, of the 12 th ct. in particular, appears as »membra disiecta« and no definitive analogies with materials in question could be ascertained. Yet at least one can provide a framework for future in-depth studies of particular monuments. The art of the early 13 th century, though, reflects a belated influences of the »Twelfth Century Renaissance« as witnessed by Topusko, Gora, and, in particular, the sculpture of Med-vedgrad, and thus could be more successfully placed within a common European context.
Umjetnost slavonskog plemstva - vrhunska djela europske baštine/ The Art of the Slavonian Nobility - Masterpieces of European Heritage / Najcer Sabljak, Jasminka ; Lučevnjak, Silvija ; Galović, Valentina (ed.), 2021
Između prve polovine 18. i sredine 20. stoljeća najveći je dio teritorija Slavonije izvan granica Vojne krajine bio podijeljen na goleme latifundije u vlasništvu nekolicine plemićkih obitelji. Njihovo bogatstvo i politička moć omogućili su im ogroman utjecaj u svim sferama društvenog i kulturnog života prostora na kojima su živjeli, pa tako i na području arhitekture. Cilj je ovoga teksta sintezno izložiti najvažnije segmente arhitektonske produkcije za koje su neposredno ili posredno bili odgovorni vlastelini današnje istočne Hrvatske (Slavonije, južnog dijela Baranje i zapadnog Srijema). U tekstu ograničene dužine nije, dakako, bilo moguće obraditi sve vlastelinske građevine toga područja, a u potpunosti su izostavljeni i objekti koje je plemstvo podizalo izvan granica istočne Hrvatske.
The Early Christian Mosaics with Inscription in Croatia
Mosaics with inscriptions from the territory of Croatia appear at many prominent sites but also at lesser known ones, a fact confirmed by more recent finds (Orlić by Knin, Baška). These are mostly floor mosaics with the exception of that from Poreč, and are a part of the great artistic tradition of antiquity a mode of expression in numerous variations of medallions although we tend to look upon them merely as productions of applied art in interior architectural decoration. The architectural heritage of mosaical inscriptions on the territory of Croatia gives the possibility of studying the structure of the society, professions, paleography and a series of other questions. But sometimes the conclusions can be one-sided if the archaeological context of the area of origin is not taken into consideration. Roman floor mosaics with accompanying inscriptions are rare on our territory (Nin, Solin), while the number from the early Christian period is far greater. These appear at Poreč, Pula, Betika by Barbariga, Rijeka, Baška, Nin, Orlić by Knin, Solin and Grohote on the island of Šolta. Mosaic inscriptions discern many examples of donations of ecclesiastic and other persons who took part in the creation of the mosaic. Prominent donors are mentioned, as well as those barely announced or fully anonymous. Our inscriptions are by and large of sepulchral or votive character. The remaining mosaics with inscriptions bear names of persons. These are names of persons that appear on the early Christian mosaics, such as names of male and female saints, bishops and archdeacons. There are also inscriptions that speak of the building of the basilica, and a mosaic with an inscription whose text is taken from the Bible. The mosaic inscriptions mostly repeat, while the only novelty is found in Poreč, in the case of a wall mosaic. For the mosaic inscriptions we can ascertain in most cases that there was a specific formula in the composition of the inscription. Donors are mentioned, as well as their title and their contribution for the production of the mosaic. All the inscriptions were produced in the mosaic technique with a more or less similar or different content. The inscriptions written, or more precisely composed, in Latin as well as Greek scripts, were rendered like those in stone. The inscriptions in capital letters with a strong cursive character belong chronologically to the 1st cent., the end of the 3rd and to the 4th cent., while in the 2nd cent. and the first half of the 3rd cent. they are only exceptionally encountered. Errors in the inscriptions appear from the mid-3rd cent., which is particularly characteristic for Christian inscriptions. By careful ordering the usual formulae were put to the fore, that is, the intention was to express specific information about the person mentioned in the inscription in a single row. Abbreviations, punctuation and vulgar forms were probably the same in the model and in the inscription, while the changes that occurred can be followed, with certain characteristics for individual periods, from the 1st to the 6th cent.