Ključne besede: sporočilnost likovne umetnosti, zgodnjekrščanski pisci o likovni umetnosti, svete... more Ključne besede: sporočilnost likovne umetnosti, zgodnjekrščanski pisci o likovni umetnosti, svete podobe, zgodnjekrščanska ikonografi ja Razmerje med podobo in pisano besedo, ki zaznamuje večji del zgodnjekrščanskih in srednjeveških polemik o vlogi umetnosti, je trdno zakoličeno z znamenito in ničkolikokrat citirano mislijo Gregorja Velikega (540-604), da so slike za nepismene to, kar je pisana beseda za ljudi, ki znajo brati: »Slike so v cerkvah zato, da lahko tisti, ki ne znajo brati, s pogledom na stene tam preberejo, česar ne morejo prebrati v knjigah« (Gregor Veliki, Pismo Serenu, PL 77, 1128). 1 S tem Gregor Veliki postavi jasno razmerje med verbalnim in vizualnim zapisom, v katerem je mogoče razbrati vsaj dva pomembna poudarka. Prvič: pisana beseda in likovna govorica sta v določenem kontekstu medsebojno zamenljivi, s čimer se avtor naveže na uveljavljeno antično tradicijo alegoričnega slikarstva in izražanja v simbolnih podobah, ki jo je krščanska umetnost sprejela brez večjih zadržkov. Drugič: v vrednotenju načinov izražanja je vzpostavljeno povsem nedvoumno hierarhično razmerje, v katerem je jezik podob degradiran na raven izraznega sredstva, ki je namenjeno nepismenim, torej manj izobraženim krogom, pretežno laični javnosti in preprostemu ljudstvu. 2 Gregor Veliki likovne umetnosti nikakor ne zavrača, vendar vidi njeno vrednost predvsem v poučnosti, v zmožnosti, da približa krščanski nauk tudi najširšim slojem takrat pretežno nepismenega prebivalstva. Umetnost kristjana uči in vzgaja, zato je koristna in potrebna. Lahko bi rekli, da je Gregor Veliki s tem umetnost postavil v vlogo služabnice veri, podobno kot so v srednjem veku imeli fi lozofi jo za »deklo teologije«. A takšna interpretacija je vse preveč poenostavljena, saj ne upošteva zgodovinskega konteksta, v katerem je bila zapisana slovita izjava. Ne smemo namreč pozabiti, da Gregor Veliki zaključuje dolgo vrsto polemik o vlogi likovne umetnosti v krščanstvu, ki so izšle izpod peres cerkvenih očetov od 2. do 5. stoletja; v njih je odnos do podob praviloma zadržan ali odkrito odklonilen.
Avtor v prispevku opredeli vire in zglede za ikonografijo emblemov v Spominski knjigi ljubljanske... more Avtor v prispevku opredeli vire in zglede za ikonografijo emblemov v Spominski knjigi ljubljanske plemiške družbe sv. Dizma (Dizmova kronika), hranjene v Arhivu Republike Slovenije (ref. AS 1073, I/1), ki še niso bili raziskani. Dizmova kronika je izvirna oblika spominske knjige, v kateri so na pretežno celostranskih miniaturah predstavljeni emblemi in imena članov družbe, njihovi grbi in podatki o vpisu v družbo. Prve miniature so nastale leta 1689, zadnji člani pa so bili vpisani leta 1801. Kakovost iluminacij in ikonografsko bogastvo sta izjemna, tako da Dizmova kronika danes upravičeno velja za najodličnejši baročni iluminirani rokopis, kar se jih je ohranilo na Slovenskem.Najnovejše raziskave kažejo, da se ideja in koncept dela zgledujeta po vsebinsko sorodno zasnovani spominski knjigi bolonjskih akademikov Memorie, imprese, e ritratti de’ signori Accademici Gelati de Bologna, izdani v Bologni leta 1672. Zaradi specifičnega konteksta nastanka Dizmove kronike so emblemi izvirne ...
Le rôle que le grand historien et fondateur de l'art graphique en Carniole a eu dans le dével... more Le rôle que le grand historien et fondateur de l'art graphique en Carniole a eu dans le développement de l'art et de la culture est bien connu du fait que Valvasor, lui-même artiste-amateur des techniques graphiques, a mis la main à la pâte et produit une gravure intéressante figurant à l'introduction de son suvre Theatrum mortis humanae tripartitum, qui, en dépit de son aspect graphique très riche, n'a pas attiré beaucoup d'attention des historiens de…
Cuadernos De Arte De La Universidad De Granada, Jan 12, 2012
The article proposes a reconsideration of the Metamorphosis of Narcissus by Salvador Dalí which f... more The article proposes a reconsideration of the Metamorphosis of Narcissus by Salvador Dalí which focuses on the issue of the relationship between Dalí's treatment of the theme and the myth of Narcissus as depicted in Ovid's Metamorphoses. Although at first glance, the revolutionary surrealist painting owes little to the story of the beautiful Boeotian youth as presented by Ovid, the iconographical analysis nevertheless reveals Dalí's profound interest in Metamorphoses. Using the paranoiac-critical method Dalí creates an original visual interpretation of metamorphosis based on Ovid's description of Narcissus' death with details that are lacking in other classical (or later) sources.
Le rôle que le grand historien et fondateur de l'art graphique en Carniole a eu dans le développe... more Le rôle que le grand historien et fondateur de l'art graphique en Carniole a eu dans le développement de l'art et de la culture est bien connu du fait que Valvasor, lui-même artiste-amateur des techniques graphiques, a mis la main à la pâte et produit une gravure intéressante figurant à l'introduction de son suvre Theatrum mortis humanae tripartitum, 1 qui, en dépit de son aspect graphique très riche, n'a pas attiré beaucoup d'attention des historiens de l'art. Il s'agit pourtant d'J.me suvre impo_rtante_intégrant les grandscourants_dela production artistique traversant! 'Europe contemporaine qui thématisent, dans les arts plastiques et dans la littérature, la fugacité de la vie humaine et la mort. 2 L'intérêt du Theatrum mortis humanae tripartitum, littéraire et, surtout, artistique, d'autant plus que les gravures exécutées d'après les originaux du peintre slovène Janez (Jean, Ivan) Koch, à la différence des vers quelque peu maladroits et ne dépassant pas la qualité moyenne de la poésie baroque morale et didactique, représentent une suvre graphique qui n'est négligeable ni du point de vue artistique
Theatrum mortis humanae tripartitum (1682) by Johann Weichard Valvasor is an illustrated moralizi... more Theatrum mortis humanae tripartitum (1682) by Johann Weichard Valvasor is an illustrated moralizing book on the vanity of human life in three parts: the first one -Saltus mortis -follows the traditional iconography of the Dance of Death although it introduces some interesting novelties; the second part -Varia genera mortis -describes the deaths of famous men and women, the third part -Poenae damnatorum -is a compilation of various images depicting the torments of damned souls in hell. The one hundred and twenty-one copper plate engravings represent an important contribution to the iconography of Death in the 17 th century art and literature. The fifty-four engravings of Saltus mortis are often unjustly designated as copies of the famous Dance of Death by Hans Holbein the Younger (first edition in 1538) although they are actually modeled on the woodcuts in Imagines mortis by Arnold Birckmann published in Cologne in 1555. The comparative analysis of Valvasor, Birckmann, and Holbein reveals that the engravings of Saltus mortis introduce significant changes in the iconography of the Dance macabre which appear to be the result of the integration of the Dance of Death into the new context of Theatrum mortis. While in Holbein's and in Birckmann's Dance of Death the social criticism, irony, and a fine satire play an important role, Valvasor concentrates on the phenomenon of inevitability and omnipotence of Death that rules the world unhindered by any power, human or divine.
Theatrum mortis humanae tripartitum (1682) by Johann Weichard Valvasor is an illustrated moralizi... more Theatrum mortis humanae tripartitum (1682) by Johann Weichard Valvasor is an illustrated moralizing book on the vanity of human life in three parts: the first one -Saltus mortis -follows the traditional iconography of the Dance of Death although it introduces some interesting novelties; the second part -Varia genera mortis -describes the deaths of famous men and women, the third part -Poenae damnatorum -is a compilation of various images depicting the torments of damned souls in hell. The one hundred and twenty-one copper plate engravings represent an important contribution to the iconography of Death in the 17 th century art and literature. The fifty-four engravings of Saltus mortis are often unjustly designated as copies of the famous Dance of Death by Hans Holbein the Younger (first edition in 1538) although they are actually modeled on the woodcuts in Imagines mortis by Arnold Birckmann published in Cologne in 1555. The comparative analysis of Valvasor, Birckmann, and Holbein reveals that the engravings of Saltus mortis introduce significant changes in the iconography of the Dance macabre which appear to be the result of the integration of the Dance of Death into the new context of Theatrum mortis. While in Holbein's and in Birckmann's Dance of Death the social criticism, irony, and a fine satire play an important role, Valvasor concentrates on the phenomenon of inevitability and omnipotence of Death that rules the world unhindered by any power, human or divine.
The paper concentrates on the iconography of animals in Baroque emblems depicted in The Album of ... more The paper concentrates on the iconography of animals in Baroque emblems depicted in The Album of the Ljubljana Noble Society of St Dismas in the Archive of the Republic of Slovenia with special attention to selected cases where the iconographical interpretation failed because of different faux pas in the methodological approach. The author draws attention to the actual traps in interpretation while the careful re-reading of the emblems shows that insufficient knowledge of zoology is not the only and often not even the most important reason for misinterpretation.
Ključne besede: sporočilnost likovne umetnosti, zgodnjekrščanski pisci o likovni umetnosti, svete... more Ključne besede: sporočilnost likovne umetnosti, zgodnjekrščanski pisci o likovni umetnosti, svete podobe, zgodnjekrščanska ikonografi ja Razmerje med podobo in pisano besedo, ki zaznamuje večji del zgodnjekrščanskih in srednjeveških polemik o vlogi umetnosti, je trdno zakoličeno z znamenito in ničkolikokrat citirano mislijo Gregorja Velikega (540-604), da so slike za nepismene to, kar je pisana beseda za ljudi, ki znajo brati: »Slike so v cerkvah zato, da lahko tisti, ki ne znajo brati, s pogledom na stene tam preberejo, česar ne morejo prebrati v knjigah« (Gregor Veliki, Pismo Serenu, PL 77, 1128). 1 S tem Gregor Veliki postavi jasno razmerje med verbalnim in vizualnim zapisom, v katerem je mogoče razbrati vsaj dva pomembna poudarka. Prvič: pisana beseda in likovna govorica sta v določenem kontekstu medsebojno zamenljivi, s čimer se avtor naveže na uveljavljeno antično tradicijo alegoričnega slikarstva in izražanja v simbolnih podobah, ki jo je krščanska umetnost sprejela brez večjih zadržkov. Drugič: v vrednotenju načinov izražanja je vzpostavljeno povsem nedvoumno hierarhično razmerje, v katerem je jezik podob degradiran na raven izraznega sredstva, ki je namenjeno nepismenim, torej manj izobraženim krogom, pretežno laični javnosti in preprostemu ljudstvu. 2 Gregor Veliki likovne umetnosti nikakor ne zavrača, vendar vidi njeno vrednost predvsem v poučnosti, v zmožnosti, da približa krščanski nauk tudi najširšim slojem takrat pretežno nepismenega prebivalstva. Umetnost kristjana uči in vzgaja, zato je koristna in potrebna. Lahko bi rekli, da je Gregor Veliki s tem umetnost postavil v vlogo služabnice veri, podobno kot so v srednjem veku imeli fi lozofi jo za »deklo teologije«. A takšna interpretacija je vse preveč poenostavljena, saj ne upošteva zgodovinskega konteksta, v katerem je bila zapisana slovita izjava. Ne smemo namreč pozabiti, da Gregor Veliki zaključuje dolgo vrsto polemik o vlogi likovne umetnosti v krščanstvu, ki so izšle izpod peres cerkvenih očetov od 2. do 5. stoletja; v njih je odnos do podob praviloma zadržan ali odkrito odklonilen.
Avtor v prispevku opredeli vire in zglede za ikonografijo emblemov v Spominski knjigi ljubljanske... more Avtor v prispevku opredeli vire in zglede za ikonografijo emblemov v Spominski knjigi ljubljanske plemiške družbe sv. Dizma (Dizmova kronika), hranjene v Arhivu Republike Slovenije (ref. AS 1073, I/1), ki še niso bili raziskani. Dizmova kronika je izvirna oblika spominske knjige, v kateri so na pretežno celostranskih miniaturah predstavljeni emblemi in imena članov družbe, njihovi grbi in podatki o vpisu v družbo. Prve miniature so nastale leta 1689, zadnji člani pa so bili vpisani leta 1801. Kakovost iluminacij in ikonografsko bogastvo sta izjemna, tako da Dizmova kronika danes upravičeno velja za najodličnejši baročni iluminirani rokopis, kar se jih je ohranilo na Slovenskem.Najnovejše raziskave kažejo, da se ideja in koncept dela zgledujeta po vsebinsko sorodno zasnovani spominski knjigi bolonjskih akademikov Memorie, imprese, e ritratti de’ signori Accademici Gelati de Bologna, izdani v Bologni leta 1672. Zaradi specifičnega konteksta nastanka Dizmove kronike so emblemi izvirne ...
Le rôle que le grand historien et fondateur de l'art graphique en Carniole a eu dans le dével... more Le rôle que le grand historien et fondateur de l'art graphique en Carniole a eu dans le développement de l'art et de la culture est bien connu du fait que Valvasor, lui-même artiste-amateur des techniques graphiques, a mis la main à la pâte et produit une gravure intéressante figurant à l'introduction de son suvre Theatrum mortis humanae tripartitum, qui, en dépit de son aspect graphique très riche, n'a pas attiré beaucoup d'attention des historiens de…
Cuadernos De Arte De La Universidad De Granada, Jan 12, 2012
The article proposes a reconsideration of the Metamorphosis of Narcissus by Salvador Dalí which f... more The article proposes a reconsideration of the Metamorphosis of Narcissus by Salvador Dalí which focuses on the issue of the relationship between Dalí's treatment of the theme and the myth of Narcissus as depicted in Ovid's Metamorphoses. Although at first glance, the revolutionary surrealist painting owes little to the story of the beautiful Boeotian youth as presented by Ovid, the iconographical analysis nevertheless reveals Dalí's profound interest in Metamorphoses. Using the paranoiac-critical method Dalí creates an original visual interpretation of metamorphosis based on Ovid's description of Narcissus' death with details that are lacking in other classical (or later) sources.
Le rôle que le grand historien et fondateur de l'art graphique en Carniole a eu dans le développe... more Le rôle que le grand historien et fondateur de l'art graphique en Carniole a eu dans le développement de l'art et de la culture est bien connu du fait que Valvasor, lui-même artiste-amateur des techniques graphiques, a mis la main à la pâte et produit une gravure intéressante figurant à l'introduction de son suvre Theatrum mortis humanae tripartitum, 1 qui, en dépit de son aspect graphique très riche, n'a pas attiré beaucoup d'attention des historiens de l'art. Il s'agit pourtant d'J.me suvre impo_rtante_intégrant les grandscourants_dela production artistique traversant! 'Europe contemporaine qui thématisent, dans les arts plastiques et dans la littérature, la fugacité de la vie humaine et la mort. 2 L'intérêt du Theatrum mortis humanae tripartitum, littéraire et, surtout, artistique, d'autant plus que les gravures exécutées d'après les originaux du peintre slovène Janez (Jean, Ivan) Koch, à la différence des vers quelque peu maladroits et ne dépassant pas la qualité moyenne de la poésie baroque morale et didactique, représentent une suvre graphique qui n'est négligeable ni du point de vue artistique
Theatrum mortis humanae tripartitum (1682) by Johann Weichard Valvasor is an illustrated moralizi... more Theatrum mortis humanae tripartitum (1682) by Johann Weichard Valvasor is an illustrated moralizing book on the vanity of human life in three parts: the first one -Saltus mortis -follows the traditional iconography of the Dance of Death although it introduces some interesting novelties; the second part -Varia genera mortis -describes the deaths of famous men and women, the third part -Poenae damnatorum -is a compilation of various images depicting the torments of damned souls in hell. The one hundred and twenty-one copper plate engravings represent an important contribution to the iconography of Death in the 17 th century art and literature. The fifty-four engravings of Saltus mortis are often unjustly designated as copies of the famous Dance of Death by Hans Holbein the Younger (first edition in 1538) although they are actually modeled on the woodcuts in Imagines mortis by Arnold Birckmann published in Cologne in 1555. The comparative analysis of Valvasor, Birckmann, and Holbein reveals that the engravings of Saltus mortis introduce significant changes in the iconography of the Dance macabre which appear to be the result of the integration of the Dance of Death into the new context of Theatrum mortis. While in Holbein's and in Birckmann's Dance of Death the social criticism, irony, and a fine satire play an important role, Valvasor concentrates on the phenomenon of inevitability and omnipotence of Death that rules the world unhindered by any power, human or divine.
Theatrum mortis humanae tripartitum (1682) by Johann Weichard Valvasor is an illustrated moralizi... more Theatrum mortis humanae tripartitum (1682) by Johann Weichard Valvasor is an illustrated moralizing book on the vanity of human life in three parts: the first one -Saltus mortis -follows the traditional iconography of the Dance of Death although it introduces some interesting novelties; the second part -Varia genera mortis -describes the deaths of famous men and women, the third part -Poenae damnatorum -is a compilation of various images depicting the torments of damned souls in hell. The one hundred and twenty-one copper plate engravings represent an important contribution to the iconography of Death in the 17 th century art and literature. The fifty-four engravings of Saltus mortis are often unjustly designated as copies of the famous Dance of Death by Hans Holbein the Younger (first edition in 1538) although they are actually modeled on the woodcuts in Imagines mortis by Arnold Birckmann published in Cologne in 1555. The comparative analysis of Valvasor, Birckmann, and Holbein reveals that the engravings of Saltus mortis introduce significant changes in the iconography of the Dance macabre which appear to be the result of the integration of the Dance of Death into the new context of Theatrum mortis. While in Holbein's and in Birckmann's Dance of Death the social criticism, irony, and a fine satire play an important role, Valvasor concentrates on the phenomenon of inevitability and omnipotence of Death that rules the world unhindered by any power, human or divine.
The paper concentrates on the iconography of animals in Baroque emblems depicted in The Album of ... more The paper concentrates on the iconography of animals in Baroque emblems depicted in The Album of the Ljubljana Noble Society of St Dismas in the Archive of the Republic of Slovenia with special attention to selected cases where the iconographical interpretation failed because of different faux pas in the methodological approach. The author draws attention to the actual traps in interpretation while the careful re-reading of the emblems shows that insufficient knowledge of zoology is not the only and often not even the most important reason for misinterpretation.
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