U prilogu se obrađuju pojava i razvoj prvih ručno ilustriranih i tiskanih razglednica na prostoru Hrvatske, od forme ilustrirane dopisnice do razglednice. Razvoj razglednice indirektno je definiran legislativom Austro-Ugarske te je od ekonomsko-političkog oblika poštanske komunikacije kraja 19. stoljeća prerasla u vizualno-turistički simbol cijelog 20. stoljeća. Polazište za istraživanje bilo je u privatnim i javnim zbirkama razglednica. Najstarije hrvatske razglednice koje prikazuju Samobor (1871.), Split (1880.) i Opatiju (1888.) prethodile su seriji razglednica Rijeke i okolice, kao i litografskim razglednicama. Novi vizualni medij u hrvatskom kontekstu svojom tehnikom, stilom i formom staje uz bok tadašnjih europskih trendova. ; The paper deals with the appearance and development of the first hand-illustrated and printed postcards in Croatia, from an illustrated postal card to a postcard. The development of the postcard was indirectly defined by the legislation of Austria-Hungary, and went from the economic and political form of postal communication of the end of the 19th century into a visual and tourist symbol of the entire 20th century. The starting point for the research was in private and public postcard collections. The oldest Croatian postcards depicting Samobor (1871), Split (1880) and Opatija (1888) preceded the series of postcards of Rijeka and its surroundings, as well as lithographic postcards. The new visual medium in the Croatian context, with its technique, style and form, stands alongside the European trends of the time.
In the contemporary world, art education provides the possibilities for the development of pupils' creativity, critical thinking, and critical attitude towards art and culture. However, "the disenchantment of the world" makes "aesthetics" a need to be continuously defined in the present age. The narrow and one-sided nature of traditional aesthetics has become increasingly apparent, and it is difficult for the ideals of beauty and art to provide reliable support for the development of aesthetics. In the late 1980s, perceptual knowledge became a frequently discussed and meaningful keyword in aesthetics research and education. Creativity comes from perceptual knowledge. Creativity is based on popular art training and aesthetic education. Creative thinking should be achieved through the process of diversification to form an area with multi-faceted and abstract structure. Because art has an essential quality (Timbre), I proposed a visual art and aesthetics project based on the implementation of artistic objectives in the teaching of visual arts and the aesthetic encounter of politics, society, history, culture and the environment. The experimental programme was performed at National Taiwan Museum of Fine Arts. The results of the research confirmed that implementation of aesthetic perception education can have a positive impact on students' views of art and on the overall popularity of related learning. Examples of education in aesthetic experience and aesthetic perception can be used as guidelines for the implementation of art and multicultural education. Well-rounded and open-minded education (from politics, society, history, culture and the environment, etc.) has become the door to the continuous development of intelligence and thinking. ; Umjetničko obrazovanje u suvremenom svijetu pruža mogućnosti za razvoj kreativnosti, kritičkoga mišljenja i kritičkoga stava učenika prema umjetnosti i kulturi. Ipak, razočaranje u svijetu čini estetiku potrebom koju u sadašnje vrijeme treba kontinuirano definirati. Ograničena i jednostrana priroda tradicionalne estetike postaje sve očitija, stoga je otežan razvoj estetike na pouzdanoj osnovi ideala ljepote i umjetnosti. Kasnih 1980-ih godina perceptivno znanje postalo je ključni pojam o kojemu se često raspravlja u sklopu istraživanja i obrazovanja u području estetike. Kreativnost proizlazi iz perceptivnoga znanja, a zasnovana je na popularnom umjetničkom i estetskom obrazovanju. Kako bi se oblikovalo područje s višestrukom i apstraktnom strukturom, potrebno je razvijati kreativno mišljenje kroz proces diversifikacije. Zbog toga što umjetnost ima esencijalno svojstvo (timbar), predložio sam projekt iz područja likovne umjetnosti i estetike zasnovan na ostvarivanju umjetničkih ciljeva u poučavanju likovne umjetnosti i na estetskom susretu s politikom, društvom, povijesti, kulturom i okolinom. Eksperimentalni program realiziran je u Nacionalnom tajvanskom muzeju likovnih umjetnosti. Rezultati istraživanja potvrđuju da obrazovanje u području estetske percepcije može imati pozitivne učinke na učeničke poglede na umjetnosti i na cjelokupnu popularnost povezanoga učenja. Primjeri razvijanja estetskoga doživljaja i estetske percepcije mogu se koristiti kao smjernice za ostvarivanje umjetničkoga i multikulturnoga obrazovanja. Dobro zaokruženo i otvoreno obrazovanje (od politike, društva, povijesti, kulture, okoline itd.) postalo je prag za kontinuirani razvoj inteligencije i mišljenja.
U članku se analiziraju načini na koje odabrani suvremeni umjetnici iz Rumunjske, Hrvatske i Srbije koriste vizualni jezik arhitektonskih maketa u svome radu. Nakon prikaza povijesti arhitektonskih maketa autorica se u prvim dvama dijelovima članka bavi umjetnicima koji koriste makete muzejâ suvremenih umjetnosti (Zlatko Kopljar, Radoš Antonijević, subREAL, Călin Dan, Iosif Kiraly, Mihai Balko i Irina Botea). Naglašava se razlika između muzeja suvremenih umjetnosti u post-socijalističkim zemljama i globalnih "muzeja moći" kao što su MoMA, Tate Modern ili Guggenheim. Treći dio članka bavi se dokumentarnim aspektom arhitektonskih maketa i dovodi radove Lane Stojićević u vezu s konceptom dokumentaliteta Hito Steyerl. Ističe se kako su makete, kao i sama arhitektura, označitelji ideologija, politika i društava koji ih grade. Suvremeni umjetnici često se bave zgradama koje su u procesu tranzicije izmijenjene, revitalizirane ili uništene, i stoga arhitektonske makete uključene u procese suvremene umjetnosti zahtijevaju dublju analizu. ; The paper analyses the ways in which selected contemporary artists from Romania, Croatia, and Serbia use the visual language of architectural scale models in their work. After presenting the history of architectural models, the first two parts of the paper focus on artists who use scale models of museums of contemporary art (Zlatko Kopljar, Radoš Antonijević, subREAL, Călin Dan, Iosif Kiraly, Mihai Balko, and Irina Botea). They emphasize the difference between museums of contemporary art in post-socijalist countries and the global "power-museums" such as MoMA, Tate Modern, or Guggenheim. The third part of the paper focuses on the documentary aspect of architectural models and relates Lana Stojićević's works to Hito Steyerl's concept of documentality. It is argued that the scale models, as architecture itself, are signifiers of the ideologies, politics, and societies that build them. Contemporary artists often focus on buildings that have been changed, revitalised, or destroyed in the transition process, and for this reason architectural models require a deeper analysis when included within contemporary art practices.
Drvena kapela sv. Martina u Starom Brodu rijedak je primjer tradicionalnog narodnog graditeljstva s cjelovito očuvanim oslikanim baroknim interijerom. Njezino je očuvanje iznimno važno za lokalnu zajednicu jer je kapela glavno okupljalište seljana u vrijeme pogreba i proštenja, a zbog svoje starosti snažan je simbol višestoljetnog opstanka sela unatoč ratovima i poplavama. Stoga se njezina obnova temeljila na vrednovanju cjelovite strukture građevine i njezinih povijesnih oblikovnih vrijednosti te je povezala sve aspekte kulturnog dobra u cjelinu, što se podjednako odnosi na građevinu, oslikanu unutrašnjost i oltar, kao i na primjenu tradicionalnih tehnika gradnje i uključivanje lokalne zajednice u projekt. Zbog toga je u svibnju 2017. godine Hrvatskom restauratorskom zavodu uručeno najviše europsko priznanje na području zaštite i očuvanja kulturne baštine – Nagrada Europske unije za kulturnu baštinu / Nagrada Europe Nostre u kategoriji zaštite baštine. ; The wooden chapel of St. Martin in Stari Brod is a rare example of traditional, vernacular architecture with a preserved Baroque interior. Over the centuries it has played an important part in the everyday life of villagers as a gathering place for worship and a powerful symbol of the village's survival. Archival records mention the chapel for the frst time in 1699. Originally, it was laid out as a single-nave chapel with a polygonal sanctuary and a small atrium on top of which stood a bell tower. Its present form originated when the atrium was incorporated to form a vestibule in 1736. It was built using a traditional technology of construction with oak planks laid over stone and brick foundations and interlocked without the use of brackets (socalled dovetail joint). What is particular about the chapel is its interior design: all the walls, the ceiling over the nave and the sanctuary vault are lined with a vividly painted wainscoting made of 88 wooden panels framed with decorative laths. The panels depict motifs of intertwined symmetrical ribbons with hanging acanthus leaves, rose flowers, tulips, carnations, peonies and grape vines, painted in vivid colours in the mid-18th century. The main altar with the altarpiece of St. Martin was installed in 1743. By the end of the 20th century, the chapel was rather neglected and had a dilapidated roof. As the roof covering was damaged, the interior was exposed to rainfall, which caused severe damage to the wooden support and the paintwork. An earlier replacement of the roof covering with beavertail tiles instead of shingles led to static displacements and deformations of the building material and caused further damage to the wainscoting panels. The main altar was removed from the chapel in 1991 during a war-time evacuation. Renovation work on the chapel of St. Martin started with an architectural survey of the existing condition and conservation research of the painted wainscoting. The wainscoting was then dismantled, and construction repair of the chapel ensued, which lasted from 2007 to 2012. During the course of it, the entire chapel was disassembled in order for the foundations to be repaired and the damaged or rotted parts of the building replaced. Damaged parts of the roof construction were also repaired and the beavertail tiles replaced with oak shingles, modelled after the original covering. On the dismantled elements of the wainscoting, necessary restoration treatments were carried out, which involved a mechanical removal of dirt from the back of the panels, gamma-ray disinsection, fxing of blistering portions of the polychromy to the support, consolidation of the support, joining and fxating of the panels, and a reconstruction and retouch of the painted layer. With the conservation work completed, the wainscoting panels were returned to the chapel. The Baroque altar of St. Martin was put on display at the 1994 exhibition Sveti trag [Holy Trail], after which it was stored in the Croatian Conservation Institute's depot in Ludbreg. Because of inappropriate microclimatic conditions, damage occurred in places where the wooden elements were joined, and layers of the polychromy and gilding partially detached from the wooden support. The damage was repaired in 2015, just before the altar was returned to the chapel. Despite having been left without the altar in 1991 and the painted wainscoting in 2002, the chapel continued to be used for funerals and on the Feast Day of St. Martin. Only during the construction repair, when it was dismantled, was it out of function. With the renovation completed, the restored wainscoting mounted and the main altar installed, not only was its physical and visual integrity recovered, but a symbolic and spiritual component important to the local community was reinstated as the chapel was returned to function. Albeit important in art-historical terms, as a rare surviving example of Baroque wooden architecture, its true value lies in the symbolism of survival of a community that gathers around it, in spite of all the wars and floods to which it was exposed over the course of history. On the other hand, the comprehensiveness and complexity of the conservation work carried out, while applying the principle of renovation in accordance with professional guidelines, represent a model of how to approach the renovation and presentation of similar monuments of culture. All the aforementioned components constitute the reason why the renovation of the chapel of St. Martin in Stari Brod earned a Europa Nostra Award, a European Union Prize for Cultural Heritage in the category of conservation, with which it was presented in the May of 2017.
Autor u radu donosi prikaz dviju vladarskih crkava iz IX. st. slična ustroja s westwerkom. Uz obje crkve pronađeni su ulomci kamene plastike s dedikacijskim natpisom, od kojih jedan spominje župana a drugi kraljicu. Na Klisu je pronađena ploča s reljefom na temu Majestas Domini. Obje crkve spadaju u privatne crkve, tzv. eigenkirche, što upućuje na novi način franačke organizacije teritorija s utvrđivanjem feudalnog posjeda (Ordensburgen). ; The remains of churches that have been found and are discussed in the text can reliably be ascribed to the chapel of the long-sought Trpimir residence at Klis and the pre-Romanesque stratum of the church dedicated to the BVM at the cemetery of the village of Blizna Gornja in the Trogir hinterland. The find of sculpture and texts written on the altar screens show that in both cases these were churches of members of the medieval ruling elite: the church in Blizna Gornja can be connected with the župan of the županija of Drid, and the chapel in Klis directly with the ruler of Croatia. The existence of a medieval church at Klis is strongly supported by investigations of the walls, which showed that a large number of marble fragments of ecclesiastical stone architectural decoration from the 9th to the 12th century were incorporated into the building of the mosque. Among the fragments there are pilasters, plutei and the trabeation of an altar screen from the early Middle Ages, while the whole of the medieval material is built into the walls of the mosque above its floor level. In the western wall four marble fragments of architraves of an altar screen with parts of an inscription were found, one fragment of a marble architrave of a pluteus and a pilaster with the base of a pillar of the screen. All the fragments of this carving were made of Proconesian marble and were incorporated in such a way that the decorations and inscriptions were not to be seen. The fragments belonged to the septum and contain typical pre-Romanesque interlacing motifs, pretzels, and the parts of an inscription are carved on a ribbon of the trabeation of the altar screen below the characteristic hook decoration. Fragments of the trabeation contain parts of an inscription about a ruler that mentions the royal family, and on an architrave of the altar screen of the church in Klis that has been found, for the first time the title of queen is mentioned. The parts of the altar screen found with interlacing ornamentation of the 9th century belong to a pilaster with interlacing and an architrave of the pluteus with interlacing ornamentation and four fragments of the architrave of the altar screen with parts of a royal inscription. The fragments contain wording with the royal formula: ORUM FILIU(S)., MEA DOM(N)A S(C)LAVA REGINA. Although these are detached pieces, it is very clear that they are part of a single inscription in which the wife of the ruler or king is mentioned. It is clear in this part of the text that the wife of the ruler is called regina, from which it can be concluded that her husband, the subject of the inscription, is a ruler who bears the title of rex. It is important to point out also that she is addressed as domna, and that analogously to this her husband must have been addressed as dominus. From these titles, the votive inscription of the church in Klis might have belonged to a ruler of the middle of the 9th century, probably to Trpimir himself, the only ruler of that time who is mentioned together with the title of king, probably attained through victory in the war with the nation of the Greeks, as reported by the Saxon Gottschalk. And the fragment of the first part of the inscription contained this very title of the ruler (REX SCLAV)ORUM FILIU(S). This would be supported by the inscription in the Cividale Gospel, where Trpimir is signed as »domno Trepimiro«, and the title of his wife really could have been DOMNA SCLAVA REGINA, as this is read from the wording on the architrave of the altar screen. As well as the described parts of the septum, during works on the renovation of the Church of St Vitus a slab with a relief was found built flat as a building stone in the annular wall of the tambour. This fragment of early medieval figural sculpture of Proconesian marble shows Christ in Glory. Preserved from the composition featuring the topic Majestas Domini in the Klis relief is the central figure of Christ in a mandorla and an angel on his right hand side. Christ is shown down to the waist, his right hand raised in blessing, while in the left hand he holds a scroll with the Gospels. The relief from the Klis Church of St Vitus, though modest in its dimensions, might have belonged to the lintel of a portal of an early medieval church, although according to the mortise on the upper part it could equally well be supposed to have been a fragment of some stone furnishing that consisted of pillars and beams. The visual treatment of the relief of the linearly grooved surfaces that suggest folds of clothing, the manner of treatment of the figures with single incision of the features with expressive underlined eyes, the hatched curls of the hair and the particularly characteristic handling of the nose reveal the hand of the skilled mason who made the relief. As for the origin of the relief of the church in Klis, the finding of the medieval royal church in the foundations of the Church of St Vitus and the confirmation of the existence of a fortified royal court at the site of Klis Fort are sufficient warrant that it originally came from Klis. From this it could well be hypothesised that the relief of Christ from the church in Klis belongs to a separate sculptural unit, directly related to this site. Extensive archaeological and conservation-restoration excavations in 1999-2000 preceded the thoroughgoing renovation of the Church of St Mary in Blizna Gornja. Against expectations, the pre-Romanesque architecture of a ruler from the 9th century was found in them, belonging through their form among the few specimens of pre-Romanesque churches with external buttresses of semicircular cross-section. Like similar examples, the Church of St Saviour at the source of the Cetina and the church at Lopuška glava, Biskupija, by Knin, the Church of St Mary in Blizna had a forecourt in front of the main elevation. An external staircase led to the first floor, over which there was probably a tower, as in examples of similar churches with a westwork. In the forecourt of the church the lid of a Roman period sarcophagus used as a gravestone was found. The find of the sarcophagus lid and many fragments of stone sculptural decoration of the 9th century in marble and limestone show that the Church of St Mary was richly endowed and equipped. One of the fragments contains the name and title of the donor: .ANVSIV[panv]S, for which reason it is assumed to have belonged to an altar screen put up by a Croatian magnate, mostly likely a župan. Numerous fragments of trabeation have been found, the beams of which were marble, while the arched tegurium was made of limestone. Fragments of marble plutei and pilasters of the altar screen, as well as pillars with capitals found around the church belong in their form to the sculptural art of the 9th century. Fragments found are enough for the reconstruction of the original appearance of the screen and for an understanding of the inscriptions in the field of the lower part of the gable and the architraves. The inscription is a typical intercession, in which the prayer is addressed to Our Lady and to St John the Baptist, asking for their intercession with Christ, for the salvation of his soul, and the following reading can be proposed: .[pe]R I[nte]RCOESSIONEM BEATE ET GLORIO[se matri]S D[e]I GE[netricis apud Christum satvatOREm SCTAe Mariae] ET BEATI IO[hannis Baptistae] OP[vs] E[dificavit] pro animae suae[reme]DIO V[otum complevit Prod]ANVS IV[ppanu]S. According to the inscription on the septum the church would have been dedicated to St Mary like many of the churches of that time in the early of medieval Croatia, in Golubić, Ostrovica, Biskupija, Gradec, Pađeni and Lepuri. But the inscription relates it in a particular way via the intercession of Mary and John to Christ, to whom the intercession is addressed. The permeation of the contents by the theme of the Madonna's intercession (i.e. the Deisis), typically Byzantine iconography on the one hand and the Sanctus written in the spirit of the revived Roman liturgy on the screens of churches in Trogir as well as the churches of the Croatian župans in the hinterland and on the islands suggest something of their specific political position in the second half of the 9th century at the border between the tradition of the East and the new influences coming from the West. The question arises as to who the donor of the church of St Mary in Blizna Gornja was. Only the ending of the name and the beginning of the title in the letters IV[ppanu]S are in existence. From this it can be assumed that the church was put up by a župan, and his name, which ends with the letters.ANUS, might be Stephanus or, more likely, it was part of some Croatian name that is borne in the documents by the župans, like Branus or Prodanus. According to the results of the most recent research, St Mar in Blizna is a votive church of a Croatian magnate put up in the middle of the 9th century on the remains of an ancient villa that was part of his estate. Analysis of the architecture confirms this. The oldest archaeological stratum found at the site is the remainder of a wall of the later Roman period, probably from the 6th century, in front of the forecourt of the church. This stratum is insufficiently investigated, but it belonged to a building of much greater size than the pre-Romanesque Church of St Mary. The early medieval stratum, of the 9th century, lays claim to the foundations of the church, of a simple rectangular ground plan with semicircular buttresses, and the shallowly founded apse on the bedrock might be a building of later time. A very good state of preservation is exhibited by the walls of the pre-Romanesque building that bound the ground plan, the beginning of the staircase of the atrium, its western and southern doors, while in the interior of the atrium, in front of the façade of the church, a cylindrical sarcophagus lid has been found. The two-storey court, the chapel of the pre-Romanesque church and its undoubtedly funerary purpose in the ground floor part are known in the literature as westwork, and their finding at the site of Blizna Gornja suggests there was a very strong influence from the Carolingian court on the Croatian ruling and aristocratic stratum of the 9th century, to which, along with the actual rulers, it was primarily the župans that belonged. The Church of St Mary on the current graveyard of the village of Blizna Gornja was, then, the church of a magnate, who in his name has the ending anus, most probably Prodan (Prodanus?) or Bran (Branus?) rather than Stjepan (Stephanus), a župan of the županija of Drid of the middle of the 9th century, for at that time along with the titular functions of the Croatian župans their Slavic names were regularly given. This is a typical example of a private church (Eigenkirche), a new legal institution of the Frankish type, put up on the foundations of a renovated Roman period villa, the feudal property of the lord, who used it for ceremonial purposes, as well as a private funeral chapel for him and the members of his immediate family, and hence it was forbidden to bury members of the community at large in its vicinity. Among the process that took hold of Europe in the post-Carolingian period an important place is occupied by the construction of fortified manors, which from the 9th to the 12th century totally changed the image of early medieval Europe. The Croatian ruler, who was at first directly subject to Aquileia, the Frankish ecclesiastical centre in Friuli, must have been directly impressed by the construction of the fortified estates of the marquisate of Friuli, for it was from here that Frankish missionaries arrived in Croatia. Its connection with Frankish church centre even after the abolition of the marquisate in 828 is shown by the pilgrimages of Croatian dukes and their families to the Benedictine monastery of Cividale during the whole of the 8th century. Einhard's Annales mentioned Borna's forts in Dalmatia, into which the duke retreated before the attack of Ljudevit Posavski. Trpimir's royal residence is mentioned in a deed of gift of his of 852. There is an obvious difference in the name of the ruler's residence of Trpimir's time, as mentioned in two texts: one mentions villa nostra, the other curte nostra. The mentioned curtis in the document is called Clusa, which implies the name of the fortress of Klis, which for the whole of its history was in strategic control of the approach to the sea, to ancient Salona and the city of Split. Unlike Klis, which is called a curtis, the name of the villa from the Gottschalk text is not recorded, and it might be to do with some residential complex in the Salona area, or perhaps some place very close to Klis, such as Rižnice, in which Trpimir, wishing to make contrition for his sins, built a monastery and church after the war, at the time of the normalisation of relations with the Romans. The fact is that the concepts of villa and curtis appear at the same time in the mid-9th century in the context of the formation of feuds and manors, although there may be some fundamental difference concealed in them. One and the other may be related to the ruler's residence. The concept of curtis in this sense can be found afterwards, among many examples of the 11th century, when the king's curtis of Rogovi on the lower slopes of the hill by Biograd, or the curtes of the imperial protospatar and ban Stjepan Uitula, Nova sella and Butina ues, as well as many others related to the names of their owners, like that of Vlkomir and Preda in Žrnovnica or Tješen on Brač. Still, in the light of the new research, the curte nostra, quae Clusan dicitur mentioned in Trpimir's deed of gift should be looked at in a completely different context, not only as an estate but also as the residential complex of a feudal ruler.
