Prilog poznavanju romaničkog zlatarstva u Dubrovniku A contribution to the knowledge of Romanesque goldsmithing in Dubrovnik

Autor: Vinicije B. Lupis
Jazyk: angličtina
Rok vydání: 2020
Předmět:
Zdroj: Starohrvatska prosvjeta
Volume III
Issue 47
ISSN: 0351-4536
Popis: The author discusses a segment of the Romanesque layer of the Dubrovnik Cathedral Treasury, based on the research of the Treasury as a central cultural topos, where the cult of saintly powers was developing over the centuries in Dubrovnik. Special attention is paid to three reliquaries with Romanesque figural depictions: the foot reliquary off St. James (CLXXIII), the foot reliquary of St. Bartholomew (XIX), and the foot reliquary of an unknown saint (CXXV), perhaps St. James. With re- spect to the foot reliquary of St. James (CLXXIII), the author notes that this is an artwork in the Romanesque style close to sources from southern France in sculptures and miniatures, also notable in southern Italy, where the Benedictines spread the Romanesque style. An unknown Dubrovnik master from the 13th century embossed the saint’s figure on the foot reliquary of St. Bartholomew (XIX). Its artistic template in terms of graphic language should be sought primarily in miniatures from liturgical books that most often circulated from one Adriatic coast to another, conveying a taste of Aquitanian sculpture and French and English miniatures of the 11th and 12th centuries. On the relic of the foot of an unknown saint (CXXV) is an embossed relief of a saint and it is the only preserved metal relief of the late Romanesque period, which would allude to the missing metal altar-pieces from the older period. As to artistic parallels to the Dubrovnik example, we should consider the later layer of the extremely poorly restored silver gilded reredos from the Cathedral in Caorle, dated quite widely, viz. from the 13th to the 14th century, and the processional cross dei Battuti by an unknown Venetian goldsmith from the 13th/14th century, from the Museo Diocesano in Trieste. The considered reliquaries indicate the complexity of artistic influences on Dubrovnik Roman- esque goldsmithing from the 12th to the end of the 13th century.
Autor obrađuje segment romaničkog sloja Moćnika dubrovačke katedrale, temeljeći svoj rad na istraživanju dubrovačkoga katedralnog Moćnika kao središnjega kulturnog toposa, gdje je Dubrovnik tijekom stoljeća razvijao kult svetačkih moći. Posebna pozornost posvećena je trima moćnicima s romaničkim figuralnim prikazima: moćniku stopala sv. Jakova (CLXXIII), moćniku noge sv. Bartula (XIX) i moćniku noge nepoznatog sveca (CXXV), možda sv. Jakova. Kod moćnika stopala sv. Jakova (CLXXIII) autor primjećuje kako se radi o umjetnini romaničke stilizacije bliske južnofrancuskim izvorima u skulpturi i minijaturi koja je zamjetna i u južnotalijanskim područjima, gdje su benediktinci širili romanički stil. Nepoznati dubrovački majstor iz 13. stoljeća na moćniku noge sv. Bartula (XIX) iskucao je svečev lik, čiji likovni predložak po grafizmu treba tražiti ponajviše unutar minijatura iz liturgijskih knjiga koje su najčešće kolale s jedne na drugu jadransku obalu, prenoseći ukus akvitanske skulpture te francuskih i engleskih minijatura 11. i 12. stoljeća. Na moćniku noge nepoznatog sveca (CXXV) iskucan je reljef sveca i to je jedini sačuvani kovinski reljef kasnoromaničkog razdoblja, koji bi aludirao na nestale kovinske oltarne pale iz starijeg razdoblja. Kao likovnu paralelu dubrovačkom primjerku treba uzeti u obzir noviji sloj iznimno loše restaurirane srebrne pozlaćene pale iz katedrale u Caorleu, koja se datira dosta široko, od 13. do 14. st., i ophodno raspelo dei Battuti nepoznatoga mletačkog zlatara, iz 13./14. stoljeća, iz tršćanskog Museo Diocesano. Razmatrani moćnici ukazuju na složenost likovnih utjecaja na dubrovačko romaničko zlatarstvo u rasponu od 12. do kraja 13. stoljeća.
Databáze: OpenAIRE
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