Pub Date : 2019-12-31DOI: 10.31664/ripu.2019.43.10
Bálint Ugry, Maja Žvorc
The Museum of Međimurje in Čakovec, situated within a former Zrinski residence, stores a stone bust collection containing portraits of 17th-century Croatian and Hungarian dignitaries. Most of the identified portraits have been modelled on Elias Widemann’s engravings from the series Icones Illustrium Heroum Hungariae. So far researchers have formed two opposing opinions concerning the collection’s interpretation: while some claim the collection was commissioned by the Zrinski family during the second half of the 17th century, others insist it was commissioned by the Festetics in the 1820s. This article proposes another engraved portrait series as a model for the collection, namely Franz Leopold Schmittner’s engravings published in Corpus Juris Hungarici (1751), which can be used to confirm or newly establish the identity of seven busts. The authors examine in what way this new find affects the interpretation of the collection’s commission and its contextualization within Croatian and Hungarian art.
{"title":"The Čakovec Stone Bust Collection: New Identifications, Possible Dating and the Identity of its Commissioner","authors":"Bálint Ugry, Maja Žvorc","doi":"10.31664/ripu.2019.43.10","DOIUrl":"https://doi.org/10.31664/ripu.2019.43.10","url":null,"abstract":"The Museum of Međimurje in Čakovec, situated within a former Zrinski residence, stores a stone bust collection containing portraits of 17th-century Croatian and Hungarian dignitaries. Most of the identified portraits have been modelled on Elias Widemann’s engravings from the series Icones Illustrium Heroum Hungariae. So far researchers have formed two opposing opinions concerning the collection’s interpretation: while some claim the collection was commissioned by the Zrinski family during the second half of the 17th century, others insist it was commissioned by the Festetics in the 1820s. This article proposes another engraved portrait series as a model for the collection, namely Franz Leopold Schmittner’s engravings published in Corpus Juris Hungarici (1751), which can be used to confirm or newly establish the identity of seven busts. The authors examine in what way this new find affects the interpretation of the collection’s commission and its contextualization within Croatian and Hungarian art.","PeriodicalId":41842,"journal":{"name":"Radovi Instituta za Povijest Umjetnosti-Journal of the Institute of Art History","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.31664/ripu.2019.43.10","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45365275","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-12-31DOI: 10.31664/ripu.2019.43.03
I. Gerát
The figure and story of Saint George, one of the most popular Christian saints of all time, has been represented in many places and in several historical periods. The cult of the saint has even transcended the confessional borders of Christianity, and his martyrdom was an exemplary manifestation of Christian belief, associated with the fight against older religions, perceived by Christians as pagan idolatry. His battle against the dragon, even if it was only later included in his legends, can be interpreted as an important archetypal image, embodying some of the basic tendencies of the human psyche. The current article focuses on this issue in the context of the visual art of a short period – the second decade of the sixteenth century – and of the geographical area of Central Europe. It is an attempt to compare several ways in which narratives about the saint were constructed and used for the purposes of political or religious propaganda. The construction of narratives was closely associated with the unwritten rules of a system of representation, valid in a particular medium.
{"title":"Saint George Between Media and Functions","authors":"I. Gerát","doi":"10.31664/ripu.2019.43.03","DOIUrl":"https://doi.org/10.31664/ripu.2019.43.03","url":null,"abstract":"The figure and story of Saint George, one of the most popular Christian saints of all time, has been represented in many places and in several historical periods. The cult of the saint has even transcended the confessional borders of Christianity, and his martyrdom was an exemplary manifestation of Christian belief, associated with the fight against older religions, perceived by Christians as pagan idolatry. His battle against the dragon, even if it was only later included in his legends, can be interpreted as an important archetypal image, embodying some of the basic tendencies of the human psyche. The current article focuses on this issue in the context of the visual art of a short period – the second decade of the sixteenth century – and of the geographical area of Central Europe. It is an attempt to compare several ways in which narratives about the saint were constructed and used for the purposes of political or religious propaganda. The construction of narratives was closely associated with the unwritten rules of a system of representation, valid in a particular medium.","PeriodicalId":41842,"journal":{"name":"Radovi Instituta za Povijest Umjetnosti-Journal of the Institute of Art History","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.31664/ripu.2019.43.03","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41752804","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-12-31DOI: 10.31664/ripu.2019.43.01
V. Bralić
This article discusses how Venice, in its political representation, valued the relation with the sacred as one of the main strategies for strengthening its political power in Istrian communities. Through associations with the cults of local saints, the Republic participated in the (co)creation of local memory and identity as evinced in the cases of St. Nazarius, the patron saint of Koper, and St. Euphemia, the patron saint of Rovinj. A new impetus was given to their cults in the 15th century after the restitution of their relics as attested by commissions of several liturgical objects made in the Venetian botteghe. The restitution of the relics of St. Euphemia in 1401, here confirmed by the archival research, is a rare documented case in Venetian political and religious practices. The growth of devotion to the saint was prompted by the return of the body, but also by the Venetian custom of developing cults in a coordinated manner, encompassing liturgical celebrations, legends and their visual expressions. This article sheds new light on the role of Venetian officials in the promotion of the cult of St. Euphemia and the authorship of the key illuminations in the Rovinj Illuminated Codex.
{"title":"The Cult of Saint Euphemia, the Patron Saint of Rovinj, and the Venetian Politics of Co-creating Local Identities in Istrian Communities in the 15th Century","authors":"V. Bralić","doi":"10.31664/ripu.2019.43.01","DOIUrl":"https://doi.org/10.31664/ripu.2019.43.01","url":null,"abstract":"This article discusses how Venice, in its political representation, valued the relation with the sacred as one of the main strategies for strengthening its political power in Istrian communities. Through associations with the cults of local saints, the Republic participated in the (co)creation of local memory and identity as evinced in the cases of St. Nazarius, the patron saint of Koper, and St. Euphemia, the patron saint of Rovinj. A new impetus was given to their cults in the 15th century after the restitution of their relics as attested by commissions of several liturgical objects made in the Venetian botteghe. The restitution of the relics of St. Euphemia in 1401, here confirmed by the archival research, is a rare documented case in Venetian political and religious practices. The growth of devotion to the saint was prompted by the return of the body, but also by the Venetian custom of developing cults in a coordinated manner, encompassing liturgical celebrations, legends and their visual expressions. This article sheds new light on the role of Venetian officials in the promotion of the cult of St. Euphemia and the authorship of the key illuminations in the Rovinj Illuminated Codex.","PeriodicalId":41842,"journal":{"name":"Radovi Instituta za Povijest Umjetnosti-Journal of the Institute of Art History","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.31664/ripu.2019.43.01","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45517820","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-12-31DOI: 10.31664/ripu.2019.43.18
Iva Pasini Tržec
U fundusu Strossmayerove galerije starih majstora HAZU šesnaest je slika starih majstora iz zbirke Ervina i Branke Weiss. Obuhvatnim istraživanjem dokumenata koji se čuvaju u različitim arhivskim institucijama i fondovima ocrtava se sudbina zbirke Weiss neposredno prije, za vrijeme i nakon Drugoga svjetskog rata te se utvrđuju okolnosti transfera slika starih majstora u Strossmayerovu galeriju. Kroz prizmu istraživanja prodaje i kupovine slika starih majstora utvrđuje se aktivnost Ervina Weissa na bečkom tržištu umjetninama. Također se donose nova saznanja o provenijenciji pojedinih slika, prije njihova ulaska u zbirku Weiss, koja su u nekim slučajevima upotpunjena i rezultatima istraživanja fizičkih tragova na poleđinama slikā.
{"title":"Slike starih majstora iz zbirke Ervina i Branke Weiss u Strossmayerovoj galeriji u Zagrebu","authors":"Iva Pasini Tržec","doi":"10.31664/ripu.2019.43.18","DOIUrl":"https://doi.org/10.31664/ripu.2019.43.18","url":null,"abstract":"U fundusu Strossmayerove galerije starih majstora HAZU šesnaest je slika starih majstora iz zbirke Ervina i Branke Weiss. Obuhvatnim istraživanjem dokumenata koji se čuvaju u različitim arhivskim institucijama i fondovima ocrtava se sudbina zbirke Weiss neposredno prije, za vrijeme i nakon Drugoga svjetskog rata te se utvrđuju okolnosti transfera slika starih majstora u Strossmayerovu galeriju. Kroz prizmu istraživanja prodaje i kupovine slika starih majstora utvrđuje se aktivnost Ervina Weissa na bečkom tržištu umjetninama. Također se donose nova saznanja o provenijenciji pojedinih slika, prije njihova ulaska u zbirku Weiss, koja su u nekim slučajevima upotpunjena i rezultatima istraživanja fizičkih tragova na poleđinama slikā.","PeriodicalId":41842,"journal":{"name":"Radovi Instituta za Povijest Umjetnosti-Journal of the Institute of Art History","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.31664/ripu.2019.43.18","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41811034","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-02-13DOI: 10.31664/ripu.2018.42.05
Petar Puhmajer, Krasanka Majer Jurišić
U članku se tumače arhivski izvori o povijesti zgrade na Koblerovu trgu u Rijeci koja je od 16. do 19. stoljeća služila kao gradska vijećnica. Od prvotne stambene kuće, prenamijenjene za vijećnicu 1532. godine, zgrada je doživjela brojne promjene. Najvažnija je bila ona iz 1740.–1745. prema projektu arhitekta Antonija de Vernede, kada je nadograđen drugi kat, pripojena susjedna kuća, pročelja u cijelosti preoblikovana u baroknom stilu, te je kao takva, uz manje preinake, zgrada ostala sačuvana do danas. Nakon toga oštećena je u potresu 1750. te je ponovno obnovljena u nekoliko navrata. U kasnom 18. stoljeću nalazimo da se njezine prostorije koriste za razna društvena i javna događanja. Kao vijećnica služila je sve do 1833. godine, a zatim se gradska uprava preselila u bivši augustinski samostan te je zgrada prenamijenjena u trgovačke i stambene svrhe. S položajem na križanju glavnih ulica i središnjega trga, stara vijećnica ima i urbanističko značenje. U članku se također donose rezultati konzervatorskih istraživanja kojima su razlučene faze njezina građevnog razvoja.
本文解读了河中科布勒大楼的历史档案，该建筑已有16年历史。直到19。几个世纪以来，它一直是一个市议会。从第一栋住宅，1532年移交给议员。一年来，这座建筑发生了许多变化。Najvažnija je bila ona iz 1740–1745。根据建筑师Antony de Vernede的说法，当二楼建成时，隔壁就建起来了，完全变成了烧烤风格，因此，由于没有太多的过渡，这座建筑一直保留到今天。在那之后，它在1750年遭到破坏。这又是一对折叠。18日晚些时候。几个世纪以来，我们发现她的房间被用于各种社交和公共活动。她一直担任议员至1833年。年复一年，市政府迁到了前八月大使馆，该建筑被转移到贸易和住房用途。在主要街道和中央广场的交叉处，旧议会也具有城市意义。文中还介绍了其建设发展的不同阶段的保护研究成果。
{"title":"Stara gradska vijećnica u Rijeci: povijest sjedišta gradske vlasti od najranijih zapisa do 19. stoljeća","authors":"Petar Puhmajer, Krasanka Majer Jurišić","doi":"10.31664/ripu.2018.42.05","DOIUrl":"https://doi.org/10.31664/ripu.2018.42.05","url":null,"abstract":"U članku se tumače arhivski izvori o povijesti zgrade na Koblerovu trgu u Rijeci koja je od 16. do 19. stoljeća služila kao gradska vijećnica. Od prvotne stambene kuće, prenamijenjene za vijećnicu 1532. godine, zgrada je doživjela brojne promjene. Najvažnija je bila ona iz 1740.–1745. prema projektu arhitekta Antonija de Vernede, kada je nadograđen drugi kat, pripojena susjedna kuća, pročelja u cijelosti preoblikovana u baroknom stilu, te je kao takva, uz manje preinake, zgrada ostala sačuvana do danas. Nakon toga oštećena je u potresu 1750. te je ponovno obnovljena u nekoliko navrata. U kasnom 18. stoljeću nalazimo da se njezine prostorije koriste za razna društvena i javna događanja. Kao vijećnica služila je sve do 1833. godine, a zatim se gradska uprava preselila u bivši augustinski samostan te je zgrada prenamijenjena u trgovačke i stambene svrhe. S položajem na križanju glavnih ulica i središnjega trga, stara vijećnica ima i urbanističko značenje. U članku se također donose rezultati konzervatorskih istraživanja kojima su razlučene faze njezina građevnog razvoja.","PeriodicalId":41842,"journal":{"name":"Radovi Instituta za Povijest Umjetnosti-Journal of the Institute of Art History","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-02-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.31664/ripu.2018.42.05","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47982652","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-01-01DOI: 10.31664/ripu.2018.42.08
Daniel Premerl
The article discusses the coat of arms of Ivan Tomko Mrnavić as a visual sign of his self-presentation. Examples of Mrnavić’ s coat of arms are presented and the contexts of their use interpreted, such as frontispieces, title pages, or seals. Finally, the origin, shape, and meaning of Mrnavić’ s coat of arms is interpreted in relation to his self-fashioned identity as a nobleman, as well as his political views on a possible post-Ottoman state in the region.
{"title":"Ivan Tomko Mrnavić and His Coat of Arms: Self-presentation of an Illyrian Noble","authors":"Daniel Premerl","doi":"10.31664/ripu.2018.42.08","DOIUrl":"https://doi.org/10.31664/ripu.2018.42.08","url":null,"abstract":"The article discusses the coat of arms of Ivan Tomko Mrnavić as a visual sign of his self-presentation. Examples of Mrnavić’ s coat of arms are presented and the contexts of their use interpreted, such as frontispieces, title pages, or seals. Finally, the origin, shape, and meaning of Mrnavić’ s coat of arms is interpreted in relation to his self-fashioned identity as a nobleman, as well as his political views on a possible post-Ottoman state in the region.","PeriodicalId":41842,"journal":{"name":"Radovi Instituta za Povijest Umjetnosti-Journal of the Institute of Art History","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48429482","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-01-01DOI: 10.31664/RIPU.2018.42.03
Josipa Alviž
{"title":"Sudbina kapucina i kapucinskoga hospicija u Herceg Novom u svjetlu novih arhivskih istraživanja","authors":"Josipa Alviž","doi":"10.31664/RIPU.2018.42.03","DOIUrl":"https://doi.org/10.31664/RIPU.2018.42.03","url":null,"abstract":"","PeriodicalId":41842,"journal":{"name":"Radovi Instituta za Povijest Umjetnosti-Journal of the Institute of Art History","volume":"1 1","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69460917","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-01-01DOI: 10.31664/RIPU.2018.42.04
Bojan Goja
Autor na temelju arhivskih i terenskih istraživanja govori o kući Dragičević, poznatoj i pod kasnijim imenom Dragičević-Pappafava, smještenoj u Ulici Mihe Klaića u Zadru. Kuću je tijekom sedmog desetljeća 18. stoljeća izgradio zadarski trgovac i poduzetnik konte Nikola Dragičević prethodno otkupivši od više vlasnika nekoliko starijih zgrada koje su stajale na tom mjestu. Analizom detaljne graditeljske procjene stanja kuće Dragičević sastavljene 1772. godine doznaju se podaci o vrsti stambenih i gospodarskih prostora, tlocrtnom rasporedu, unutarnjoj opremi i dekoraciji te materijalima korištenima u gradnji. Nikola Dragičević u svojoj je kući prikupio i zbirku slika raznovrsnog sadržaja pa su ti podaci vrijedan doprinos poznavanju starijega dalmatinskog kolekcionarstva.
{"title":"Kuća Dragičević: prilog poznavanju stambenih kuća u Zadru u 18. stoljeću","authors":"Bojan Goja","doi":"10.31664/RIPU.2018.42.04","DOIUrl":"https://doi.org/10.31664/RIPU.2018.42.04","url":null,"abstract":"Autor na temelju arhivskih i terenskih istraživanja govori o kući Dragičević, poznatoj i pod kasnijim imenom Dragičević-Pappafava, smještenoj u Ulici Mihe Klaića u Zadru. Kuću je tijekom sedmog desetljeća 18. stoljeća izgradio zadarski trgovac i poduzetnik konte Nikola Dragičević prethodno otkupivši od više vlasnika nekoliko starijih zgrada koje su stajale na tom mjestu. Analizom detaljne graditeljske procjene stanja kuće Dragičević sastavljene 1772. godine doznaju se podaci o vrsti stambenih i gospodarskih prostora, tlocrtnom rasporedu, unutarnjoj opremi i dekoraciji te materijalima korištenima u gradnji. Nikola Dragičević u svojoj je kući prikupio i zbirku slika raznovrsnog sadržaja pa su ti podaci vrijedan doprinos poznavanju starijega dalmatinskog kolekcionarstva.","PeriodicalId":41842,"journal":{"name":"Radovi Instituta za Povijest Umjetnosti-Journal of the Institute of Art History","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46832868","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-01-01DOI: 10.31664/ripu.2018.42.12
Ana Šeparović
U radu se razmatraju dvije inicijative Udruženja likovnih umjetnika Hrvatske iz 1960-ih kojima je uporište u ideji o "sintezi likovnih umjetnosti": organizacija izložbi Zagrebačkoga salona i zalaganje za obavezni postotak koji bi se odvajao za likovnu opremu pri svakoj javnoj izgradnji. Budući da ULUH u razdoblju 1950-ih i 1960-ih privilegira onu varijantu umjerenoga modernizma koja se zasniva na ideji o autonomiji umjetnosti, vrijedno je istaknuti te dvije inicijative koje proizlaze iz ideje o sintezi, kao projekta druge, racionalističke varijante modernizma. Pritom se razmatra reformatorski potencijal ideje o sintezi, koja je iskorištena kao sredstvo u procesu modernizacije i demokratizacije Društva u tome razdoblju ‘tranzicije’ ULUH-a iz doktrinarnog i birokratskog u moderno strukovno udruženje. Cilj je ovoga rada na temelju arhivske dokumentacije, prikazom jednoga segmenta svijeta umjetnosti 1960-ih, dijelom rasvijetliti njegovo funkcioniranje i institucionalnu infrastrukturu.
{"title":"Od \"sinteze likovnih umjetnosti\" do Zagrebačkoga salona: prilog poznavanju djelovanja ULUH-a 1960-ih","authors":"Ana Šeparović","doi":"10.31664/ripu.2018.42.12","DOIUrl":"https://doi.org/10.31664/ripu.2018.42.12","url":null,"abstract":"U radu se razmatraju dvije inicijative Udruženja likovnih umjetnika Hrvatske iz 1960-ih kojima je uporište u ideji o \"sintezi likovnih umjetnosti\": organizacija izložbi Zagrebačkoga salona i zalaganje za obavezni postotak koji bi se odvajao za likovnu opremu pri svakoj javnoj izgradnji. Budući da ULUH u razdoblju 1950-ih i 1960-ih privilegira onu varijantu umjerenoga modernizma koja se zasniva na ideji o autonomiji umjetnosti, vrijedno je istaknuti te dvije inicijative koje proizlaze iz ideje o sintezi, kao projekta druge, racionalističke varijante modernizma. Pritom se razmatra reformatorski potencijal ideje o sintezi, koja je iskorištena kao sredstvo u procesu modernizacije i demokratizacije Društva u tome razdoblju ‘tranzicije’ ULUH-a iz doktrinarnog i birokratskog u moderno strukovno udruženje. Cilj je ovoga rada na temelju arhivske dokumentacije, prikazom jednoga segmenta svijeta umjetnosti 1960-ih, dijelom rasvijetliti njegovo funkcioniranje i institucionalnu infrastrukturu.","PeriodicalId":41842,"journal":{"name":"Radovi Instituta za Povijest Umjetnosti-Journal of the Institute of Art History","volume":" ","pages":""},"PeriodicalIF":0.1,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.31664/ripu.2018.42.12","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43740010","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-01-01DOI: 10.31664/RIPU.2018.42.01
Laura Chinellato
Il "pulpito di Maviorano", custodito nella chiesa di S. Maria Assunta di Gussago, in provincia di Brescia, e un eccezionale monumento composto da pilastrini e da due lastre di epoca longobarda, e rappresenta una rarita nel panorama della scultura del secolo VIII per le complesse figurazioni e la presenza di un’ epigrafe sul prospetto maggiore. Dal 1911 a oggi, molteplici sono state le posizioni della critica riguardo datazione, collocazione e contesto di riferimento dell’ opera; tuttavia, permangono ancora divergenti le opinioni sul significato di alcuni simboli e dell’ iscrizione. Grazie ad un’ analisi delle fonti storiografiche, della superficie dell’ opera e dell’ iscrizione, il presente scritto mira a ridefinirne estetica, vicenda conservativa, significato e contesto chiesastico di riferimento.
“Maviorano面板”,庄严载入Gussago S . Maria的天主教堂,在布雷西亚省,和一个特殊纪念碑由pilastrini和两个longobarda时代板,是雕塑的格局中rarita复杂figurazioni第八世纪的招股说明书和一个assurance存在更大。自1911年以来，对这项工作的日期、地点和背景有许多批评意见;然而，对于某些符号和铭文的含义，意见仍然存在分歧。通过对历史渊源、作品表面和铭文的分析，本文旨在重新定义其美学、保护历史、意义和参考教会背景。
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