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Pričujoče diplomsko delo temelji na raziskavi problematike figurativnega upodabljanja v Sarajevski Hagadi. V prvem delu teze poudarim pojav iluminiranih rokopisov znotraj judovske prepovedi likovnega izražanja. Predstavljena je teorija o obstoju morebitnega antičnega judovskega rokopisa, na katerem naj bi temeljila srednjeveška krščanska in judovska rokopisna umetnost. Podan je nastanek iluminiranih Hagad v zgodovinskem in kulturnem kontekstu in pojav antisemitizma v 13. in 14. stoletju, ki je imel vpliv na ikonografijo Hagad. Analizirane so tudi ključne iluminacije iz Sarajevske Hagade, in njihova medsebojna primerjava s krščanskimi iluminacijami. Medsebojno so primerjane tudi sefardske in aškenaške Hagade. Cilj diplomske naloge je bil seznaniti bralca z jasnejšo sliko razvoja srednjeveških iluminiranih Hagad znotraj zgodovinskega in kulturnega okvirja, da bi lažje razumeli nastanek in avtorstvo Sarajevske Hagade. The present study is based on a survey of the problems of figurative depiction in the Sarajevo Haggadah. In the first part of thesis, I highlight the emergence of illuminated manuscripts whitin the Jewish prohibition of artistic expression. The theory of a existence of possible ancient Jewish manuscript is presented, on which early Christian funerary and medieval manuscript art should be based. The occurrence of the illuminated Haggadot is given in the historical and cultural context, and the emergence of anti-semitism in the 13th and 14th centuries, which also influenced the iconography of the Haggadot. The key illuminations of the Sarajevo Haggadah are analyzed and their mutual comparison with the Christian illuminations. Sephardic and Ashkenazic Haggadot are also compared together. The aim of the thesis was to acquaint the reader with a clearer picture of the development of Jewish art from antiquity to the Middle Ages, in order to better understaning the origin and authorship of the Sarajevo Haggadah. |
