PRILOG IKONOGRAFIJI PLESA MRTVACA

Prikaz knjige slovenskog povjesničara umjetnosti Tomislava Vignjevića, koja analizira ikonografiju smrti u srednjovjekovnoj i renesansnoj umjetnosti u kontekstu dva sačuvana primjera Plesa smrti u Istri; jedan je naslikao Vincent iz Kastva i njegova radionica 1474. u crkvi Sv. Marije u Bermu (Hrvatska), dok je drugi djelo Ivana iz Kastva iz 1490. u crkvi Sv. Trojstva u slovenskom Hrastovlju

Ars lignea: drvorezbarska umjetnička baština sjevernog Jadrana od 1300. do 1600. godine / Ars lignea: the Woodcarving Art Heritage of the North Adriatic from 1300 to 1600

O istoimenom uspostavnom istraživačkom projektu Hrz

PRILOG IKONOGRAFIJI PLESA MRTVACA

Prikaz knjige slovenskog povjesničara umjetnosti Tomislava Vignjevića, koja analizira ikonografiju smrti u srednjovjekovnoj i renesansnoj umjetnosti u kontekstu dva sačuvana primjera Plesa smrti u Istri; jedan je naslikao Vincent iz Kastva i njegova radionica 1474. u crkvi Sv. Marije u Bermu (Hrvatska), dok je drugi djelo Ivana iz Kastva iz 1490. u crkvi Sv. Trojstva u slovenskom Hrastovlju

Zbirka starih majstora Zavičajnog muzeja grada Rovinja

Recenzija, prikaz kataloga izložbe "Slikarski izvori i tokovi u Zbirci starih majstora: slike od 16. do 18. st.," urednice Višnje Bralić

Miraculous Our Lady of Rab. Public Marian Devotion in th e Dio -cese of Rab (portabl e icons, processions, and memorabilia)

Na središnjem oltaru crkve Rođenja Blažene Djevice Marije u Loparu na otoku Rabu nalazi se drveni rezbareni i polikromirani reljef s prikazom majke i djeteta, koji se na osnovi svojih likovnostilskih karakteristika ubraja među rijetke drvene romaničke skulpture ranog 14. stoljeća sačuvane na istočnoj obali Jadrana. U ovom se radu rezbareni reljef Majke s Djetetom, ikonografski u dosadašnjoj literaturi definiran kao prikaz sv. Ane s malom Gospom, interpretira u kontekstu hagioloških istraživanja marijanskih pobožnosti srednjega i ranoga novog vijeka u Rapskoj biskupiji. Pritom se nastoji utvrditi historijat i varijante titulara zavjetne crkve u Loparu, ali i istoimenih kapela drugdje na otoku. Na temelju arhivskih izvora u radu se nastoji rekonstruirati specifičan razvoj te oblici marijanskih pobožnosti u Rapskoj biskupiji kao i njihova povezanost s ostalim ritualnim praksama rapske zajednice, u prvom redu s Gospinim procesijama i memorabilijama.On the central altar in the Church of the Nativity of the Blessed Virgin Mary in Lopar, on the island of Rab, there is a woodcarving and polychromatic relief representing a mother and child. Based on its artistic and stylistic characteristics, this relief is considered a rare example of wooden sculpture from the beginning of the fourteenth century. Although this relief depicts the Virgin Mary with a child, which can be corroborated by the attribute of an apple in the left hand of the child, accompanied by the blessing of the right hand, the previous iconographic interpretation was heavily influenced by context. Namely, during the nineteenth century in Lopar, the feast of the Nativity of Mary (September 8) was closely associated with the worship of Our Lady\u27s votive icon, and many believers gave many votive gifts - especially scarves and models of ships. Such a situation certainly contributed to the preservation of this work of art, as it was regularly revalued, preserved and preserved, but at the same time the icon is attributed to the depiction of St Anne with the Little Lady. Nevertheless, the research of the icon and the context of its origin, as well as its iconography, led us to the need for further research of the Lopar church and its name, compared to the development of public Marian devotion in the Diocese of Rab during the Middle Ages and early modern times. The investigation showed that the new cult of Our Lady of Lopar strongly influenced and caused a change in the original name of the medieval Franciscan Church of St Mary Magdalene. Moreover, this change affected collective piety and the formation of a new ritual towards a new cult. Furthermore, based on archival sources, the authors tried to reconstruct the specific development and forms of Marian devotion in the Diocese of Rab: processions with the ritual transfer of the icon of Our Lady of Lopar or the Miraculous Lady, local narratives of the events that preceded the worship of miraculous icons, as well as other ritual customs within the Rab community

Choir Stalls in St. Anastasia’s Cathedral in Zadar

Povijest i mijene korskih klupa u zadarskoj katedrali sv. Stošije neraskidivo su povezane s arhitektonskim okvirom i promjenama u uređenju crkve. Tragovi tih preinaka mogu se pročitati u tkivu samih klupa, kako u slojevitosti oslika tako i u nepravilnostima i nedosljednostima u oblikovanju pojedinih dijelova. Uz arhitektonski okvir, mijene su bile uvjetovane upotrebnom namjenom klupa kao crkvenog namještaja i političkim prilikama, a jednako su tako bile obnavljane i radi osuvremenjivanja izgleda, budući da nisu samo upotrebni predmet, nego i ures svetišta katedrale. Pomni pregled otkriva da ni prvotni izgled klupa nije bio uniforman, već se mogu zapaziti razlike u oblikovanju ranije i kasnije izvedenih dijelova. Konzervatorsko-restauratorska istraživanja provedena u Hrvatskom restauratorskom zavodu, usporedno s radovima između 2010. i 2014. godine, dopunjuju zapažanja iz vizualnog pregleda pojedinostima koje se otkrivaju tek u mikroskopskom planu.The choir stalls in the cathedral of St. Anastasia in Zadar were commissioned in 1418 from Matteo Moronzon, a Venetian woodcarver residing in Zadar. As Matteo’s workshop executed the work during several decades, the stalls bear the traces of changes in the design of carved ornaments, pointing to different periods of creation of various portions. We find confirmation for the approximate dating of individual carved ornaments in the designs of as many as four coats of arms of the Zadar Archbishops, during whose offices the stalls came into being. Along with the coat of arms of the Archbishop Luca of Fermo, who commissioned the stalls and acted as Archbishop of Zadar from 1400 to 1420, we also find the coats of arms of Archbishops Biagio Molin (1420-1427), Lorenzo Venier (1428-1449) and Maffeo Vallaresso (1450-1495). Since the time they were created, the choir stalls have continually stood in the sanctuary of the cathedral. However, over centuries they have been redesigned on several occasions, and these changes were often associated with the alterations that the architecture of the church was undergoing. Some alterations were conditioned by practical needs, others were a direct consequence of the changing political circumstances, while the rest, for the most part, came from a desire to refresh and modernize the appearance of the stalls. Traces of these alterations can be observed in the very fabric of the stalls, especially in the irregularities and inconsistencies in the design of certain parts. After the fall of the Venetian Republic in 1797, the seat of the Count as the representative of the Venetian authority, that was once as prominent as the Archbishop’s seat, was redesigned to be less conspicuous. The stalls were distanced so as to enlarge the space, according to the late Baroque concept of a spacious sanctuary enclosed by a vault and a triumphal arch. In a late 19th-century renovation, the portion of the partitions between the stalls was removed, and another tier of stalls was added in front of the existing ones, thus increasing the number of seats in the sanctuary. The embellishment and modernization of the stalls was mostly evident in the change of the polychromy. Their present-day re-polychromy dates from 1885, when they were thoroughly renovated by Oscar Marcocchia. The former, much more vivid polychromy was revealed in the conservation investigations conducted on two occasions – between 1969 and 1971 by the Conservation Institute of Croatia, and between 2011 and 2014 by the Croatian Conservation Institute. Just as was the case with the late Baroque renovation of the church, when parts of the stalls were damaged and removed, so it was in a later-date restoration that aimed at giving back the church its medieval appearance, leaving the stalls without some parts. More specifically, during the Italian rule between the two World Wars, the conservation authorities from Ancona removed the Baroque vault in an effort to reconstruct the wooden roofing. The triumphal arch was removed at the time, and half-columns with halfcapitals were constructed, leaving no room for the parts of the choir stalls that were closest to the nave. A single relief that was dismantled at the time was not discarded, but has been kept and preserved until the present day. In 2013 it was conserved at the Croatian Conservation Institute and after almost 70 years returned to the cathedral, where it was mounted onto the wall next to the choir stalls

CEREMONIJE I CEREMONIJALNA KOMUNIKACIJA

Ceremonije i ceremonijalna komunikacija sveučilišni je priručnik kojim se teži prikazati nastanak i razvitak ceremonija i ceremonijalne komunikacije te značaja koje su ove pojavnosti ostvarivale u srednjovjekovnom i ranonovovjekovnom razdoblju. Ceremonije i rituali predstavljaju sponu između društava srednjovjekovne i ranonovovjekovne Europe. Nastaju zbog toga što grupa ljudi kroz njih pokušava prikazati određenu svrhu, legitimitet i zajednički identitet, kao i osigurati provođenje društveno-političkog hijerarhijskog uređenja unutar zajednice. Samim time oni su poticali poslušnost unutar političke hijerarhije te obvezivali pripadnike plemićkih i dvorskih krugova, kao i ostale podanike, da se ponašaju prema utvrđenim pravilima. Iz navedenog vidljiva je i njihova važnost pri utvrđivanju političkog djelovanja u ovim povijesnim razdobljima