The visual arts in the works of N. V. Gogol

U radu se analiziraju stvaralačke veze Gogolja s likovnim umjetnostima. U prvom se dijelu obrađuju Gogoljevi eseji u kojima se on bavi nekim aspektom likovnih umjetnosti svog vremena: u eseju Skulptura, slikarstvo, glazba (Skul'ptura, živopis', muzyka) on međusobno uspoređuje skulpturu, slikarstvo i glazbu koje su personificirane kao tri sestre, pri čemu je za Gogolja najcjenjenija glazba jer je najbliža Bogu. U eseju Posljednji dan Pompeja (Poslednij den' Pompei) Gogol' daje majstorsku likovnu kritiku slike Posljednji dan Pompeja slikara Karla Brjullova te općenito opisuje stanje na likovnoj sceni 19. stoljeća, a u Povijesni slikar Ivanov (Istoričeskij živopisec Ivanov) moli za financijsku pomoć svome prijatelju, slikaru Aleksandru Andreeviču Ivanovu i pritom daje svoje viđenje idealnog umjetnika. U drugom dijelu proučavaju se stvaralačke veze Gogolja sa slikarima koji su na njega nesumljivo utjecali i koje je osobno poznavao, a to su Aleksej Gavrilovič Venecianov i Aleksandr Andreevič Ivanov. U trećem se dijelu analiziraju tri Gogoljeva slikara, Piskarjev iz Nevskog prospekta, Čartkov iz Portreta i kovač Vakula iz Badnje noći. Pokazuje se da su Gogoljeva poznanstva s Venecijanovom i Ivanovom te njegova općenita uključenost u umjetničku scenu svog vremena utjecala na njegovo oblikovanje vlastitih junaka slikara. U četvrtom se dijelu analizira kako je pučka grafička umjetnost – lubok utjecala na Gogoljevu poetiku. U petom se daje širi prikaz Gogolja kao vizualnog autora, čija se dijela lako prenose na kazališne daske i na filmsko platno. Njegov način pisanja općenito je izrazito vizualan, što je osobito vidljivo pri njegovu opisivanju slika u noveli Portret te junakinje Annunciate iz odlomka Rim, čiji su predložak najvjerojatnije činili portreti Talijanke Vittorie Caldoni

The Role of Digital 3D Models in the Context of Museum Display of Sculpture

U članku se raspravlja o tome kakve su razlike u doživljaju originalnih predmeta i njihovih 3D modela u muzejskom kontekstu, i to na primjerima skulpture kao specifično trodimenzionalne umjetničke forme. Započinje se općim pregledom zastupljenosti skulpture u hrvatskim muzejima i njezine popularnosti te se nastavlja pregledom prednosti i nedostataka izlaganja digitalizirane kulturne baštine u muzejima. Potom se originalne predmete i njihove 3D modele nastoji pozicionirati unutar odnosa original — kopija, i to kroz pojmove aure i autentičnosti. Cilj je rada pokazati da, iako 3D modeli jesu vrijedna pomoćna sredstva u prezentaciji muzejske baštine, doživljaj njih i originalnih predmeta nije isti te bi ih se u muzejskom kontekstu trebalo tretirati na zaseban način, kao zamjenske muzejske predmete.In the midst of the COVID-19 pandemic and following the Zagreb earthquake, the debate on the proper use of digital technologies in museums became increasingly important and heated. Precisely because they are very popular and increasingly available, digital technologies as a tool require a precise methodological basis for their optimal application. This paper specifically tackles the use of virtual 3D models in a museum context by using examples of sculpture as a specifically three-dimensional art form, and attempts to define the role of a 3D model in relation to the original. As a museum exhibit, sculpture seems to receive little attention compared to other art forms. There are multiple reasons for this, but some of the most important ones are the differences in the production of three-dimensional versus two-dimensional artworks, as well as specific difficulties with exhibiting sculptures. Also, the relative unpopularity of sculpture as a three-dimensional medium, especially among the younger generations, should be attributed to the dominant culture of images, especially virtual ones, which are accessible through the ubiquitous screens of smartphones, tablets and similar electronic devices. Museums around the world, and thus in Croatia as well, have readily embraced the possibilities offered by digital technologies to enrich the experience of their visitors. When exhibiting three-dimensional art forms and objects, they frequently use 3D models of exhibits available in the space of the actual museum or on its websites, complex 3D displays of an entire space, or even computer simulations of the so-called virtual or augmented reality (virtual reality — abbreviated VR, and augmented reality — abbreviated AR), with the aim of reconstructing entire historical spaces in which the viewer is “immersed”, thus becoming a part Still, regardless of the range of possibilities, when designing virtual exhibitions as well as in the general use of 3D models in the museum context, the emphasis must be placed on a clear idea that is conveyed by that exhibition and on clear meta- and para-data that facilitates the communication of its message — focus, therefore, must be on the narrative. This is supported by the results of recent research, which showed that the authentic experience of a 3D model increases if, in addition to the element of interactivity (the possibility of manipulating the model), there is also an element of contextualizing the object as widely as possible. Using Ivo Maroević\u27s categorization of replacement museum objects, we viewed 3D models as museum objects in a digital form, intended for display, which serve as an aid in education, presentation and strengthening the communication and interactive potential of the original object. In order to examine whether 3D models have the same effect on observers as the original objects, we used the concepts of an aura, as defined by Walter Benjamin, and authenticity which, following division, we divided into two categories — nominal and expressive. We also used the results of several studies that examined the experience of 3D models in and out of the museum context. Based on the above reasoning, we came to the conclusion that observers can experience a 3D model as authentic and auratic, but that such experience is predicated upon being in a museum and having enough information that contextualize the object. Finally, it is important to highlight the difference between experiencing a sculpture, as a specific type of artwork, and its 3D model, with regard to its material presence in space. Namely, an encounter with a sculpture is a multisensory experience defined by the awareness of one\u27s own body and the kinetic potential of the sculpture located in the same space. In the case of viewing a 3D model on a screen, this experience is absent. That is why we believe that 3D models and the original sculptures definitely cannot and should not be treated the same way: in the right context, 3D models can evoke an impression of auraticity and authenticity, but they find their best use as substitute museum objects whose primary role is to enrich the museum experience of visitors through strengthening the interpretation possibilities of the original

Lik Bogorodice u kamenoj plastici od 11. do 13. stoljeća na području istočnog Jadrana

Prikazi Bogorodice razmatrani u ovom dijelu rada vezuju se uz značajne dalmatinske komune: Zadar, Split, Dubrovnik te Trogir. Događaj koji je obilježio prvu polovinu 13. stoljeća je osvajanje i razaranje Zadra 1202. godine, za koje je bila odgovorna mletačko-križarska vojska. Grad se predaje Mlečanima 1204. godine i ostaje pod njihovom vlašću do 1358. godine.476 Dubrovnik također od početka 13. stoljeća priznaje mletačku vlast.477 Trogir i Split tijekom 13. stoljeća ostaju pod nominalnom vlašću ugarskoga kralja, no pod pritiskom Venecije, čiju vlast priznaju početkom 14. stoljeća.478 Takva jaka prisutnost Venecije na našoj obali odrazila se i na umjetničku baštinu. ..

Osvrt: Aspice hunc opus mirum

The review presents the Proceedings of Aspice hunc opus mirum published on the occasion of the 70th birthday of Nikola Jakšić, Ph.D, Professor Emeritus at the University of Zadar, published by the University of Zadar and the International Research Centre for Late Antiquity and the Middle Ages at the University of Zagreb. It is an extensive volume with forty-seven articles written by Croatian and international scholars from the fields of art history, archaeology, and history, spanning the period from Late Antiquity to the 19th century and divided into four thematic blocks. The articles cover a wide range of topics, including stonemasonry productions and methodologies in studying sculpture, goldsmithing and applied arts, iconographic studies, and historical topography of the Eastern Adriatic area, paying tribute to the rich scholarly opus of Professor Jakšić.U tekstu se prikazuje zbornik Aspice hunc opus mirum izdan u povodu sedamdesetog rođendana profesora emeritusa Sveučilišta u Zadru, dr. sc. Nikole Jakšića. Zbornik je izdalo Sveučilište u Zadru i Međunarodni istraživački centar za kasnu antiku i srednji vijek Sveučilišta u Zagrebu i predstavlja obimno štivo od pet stručnih te četrdeset i dva znanstvena članka hrvatskih i međunarodnih stručnjaka iz područja povijesti umjetnosti, arheologije i povijesti, kronološkog raspona od kasne antike do devetnaestog stoljeća, podijeljena u četiri tematska bloka. Članci pokrivaju širok raspon tema: od klesarskih produkcija i metodologija proučavanja skulpture, zlatarstva i primijenjenih umjetnosti, ikonografskih studija do povijesne topografije istočnojadranskog prostora, odajući počast bogatom znanstvenom opusu profesora Jakšića

Umjetnost u službi iskazivanja moći

Recenzija, prikaz časopisa "Hortus Artium Medievalium: Journal of the International Research Center for Late Antiquity and Middle Ages" pod uredništvom Miljenka Jurkovića

Visual Images on Medieval and Early Modern World Maps: Iconography of the Known and the Unknown

U fokusu su ovog interdisciplinarnog istraživanja likovni prikazi na kartama svijeta izrađenima tijekom srednjeg i ranog novog vijeka. Bez obzira bile one izrađivane u ideološko-reprezentacijske svrhe kao srednjovjekovne O ili T karte, ili pak u funkciji praktične plovidbene svrhe kao portulanske karte i potom ranonovovjekovne pomorske karte (tada poznatoga) svijeta u sitnijem mjerilu, osim standardnih informacija geografsko-kartografskog sadržaja, krasila ih je i grafička kvaliteta te bogat ilustrativni (likovni) sadržaj. On je, osim o namjeni i o korisniku karte, ovisio i o dostupnim geografskim znanjima s jedne te ekspertizi (vještini) autora karte s druge strane. U ovoj su kratkoj sinkronijskoj, ali i dijakronijskoj komparaciji izabranih ikonografskih elemenata sa starih karata svijeta, s djelomičnim osvrtom na prostore hrvatskih zemalja na njima, uočeni određeni kontinuiteti u prikazu poznatih i manje poznatih krajeva kroz epohe, kao i značaj prijenosa svjetonazorskih informacija koje su se kartom komunicirale i diseminirale.This interdisciplinary research is focused on visual images on maps of the known world spanning from the medieval to the early modern period. Regardless of their purpose, which could range from ideological representations of the medieval world, as were O or T maps, to practical sailing maps like portolan charts and other early modern nautical charts of the (already known) world in a smaller scale, they carried the standard scope of geo-cartographic data and content. Besides, they offered a rich illustrative component of respectable graphic quality. This depended on the purpose of the map, as well as the geographical knowledge of its author on one hand and on the skill and expertise of its creator on the other. Through this short synchronic and diachronic overview of the iconographic elements of Old World maps, especially in respect to Croatian lands, some chronological continuities of cartographic presentation were revealed. The spread of ideas and ideologies communicated and disseminated by these will also be discussed

Izvorni znanstveni radLikovni prikazi na srednjovjekovnim i novovjekovnim kartama svijeta: ikonografija poznatoga i nepoznatogahttps://doi.org/10.32909/kg.21.38.2

This interdisciplinary research is focused on visual images on maps of the known world spanning from the medieval to the early modern period. Regardless of their purpose, which could range from ideological representations of the medieval world, as were O or T maps, to practical sailing maps like portolan charts and other early modern nautical charts of the (already known) world in a smaller scale, they carried the standard scope of geo-cartographic data and content. Besides, they offered a rich illustrative component of respectable graphic quality. This depended on the purpose of the map, as well as the geographical knowledge of its author on one hand and on the skill and expertise of its creator on the other. Through this short synchronic and diachronic overview of the iconographic elements of Old World maps, especially in respect to Croatian lands, some chronological continuities of cartographic presentation were revealed. The spread of ideas and ideologies communicated and disseminated by these will also be discussed.U fokusu su ovog interdisciplinarnog istraživanja likovni prikazi na kartama svijeta izrađenima tijekom srednjeg i ranog novog vijeka. Bez obzira bile one izrađivane u ideološko-reprezentacijske svrhe kao srednjovjekovne O ili T karte, ili pak u funkciji praktične plovidbene svrhe kao portulanske karte i potom ranonovovjekovne pomorske karte (tada poznatoga) svijeta u sitnijem mjerilu, osim standardnih informacija geografsko-kartografskog sadržaja, krasila ih je i grafička kvaliteta te bogat ilustrativni (likovni) sadržaj. On je, osim o namjeni i o korisniku karte, ovisio i o dostupnim geografskim znanjima s jedne te ekspertizi (vještini) autora karte s druge strane. U ovoj su kratkoj sinkronijskoj, ali i dijakronijskoj komparaciji izabranih ikonografskih elemenata sa starih karata svijeta, s djelomičnim osvrtom na prostore hrvatskih zemalja na njima, uočeni određeni kontinuiteti u prikazu poznatih i manje poznatih krajeva kroz epohe, kao i značaj prijenosa svjetonazorskih informacija koje su se kartom komunicirale i diseminirale