| Popis: |
The article is presented as an appeal for those dealing with regional research - to focus on the specifics of items carrying certain meaning, such as the works of architecture and visual arts. In a few related examples, the author shows the importance and the need to interlink the study of art history with the analysis of written historie artefaets. One by one, the author analyses severał monuments. First, the tomb of Princess Catherine (t 1420) in Hlohov is interpreted as the first monumental reaction to the Hussite movement. Next, the fate of the “relics” of Saint Adalbert is being analysed - as a sign of true faith, they were carried in 1460 from the Utraąuist Bohemia to the Catholic Wrocław. The event is interpreted as a part of the “new concept'’ of the history of Silesian Capital, the “Czech” history. Next, the intellectual inspiration for the Virgm Mary’s Chapel is analyzed. The chapel was built in 1617-1619 on top of the hill close to Bardo, right on the historie border between Bohemia and Silesia. The building responds to certain aspects of the cult of Saint Adalbert. Finally, the study examines the first map of Silesia from 1544 which adopts the mental scheme of the first map of Bohemia, the Claudian’s map from 1518. The author interprets this as the expression of Czech Messianism. The study also touches upon the role of various traditions which helped form the regions during the transition from the late Middle Ages to the early Modern Era. The author deals with the biblical tradition, with the heritage of ancient Rome and the rich tradition of individual regional history. The author doesn’t agree with Saint Augustine’s point of view in the research of such topics - Augustine’s thesis being that an image can be admired, whereas only text can be understood. He thinks that another thought of Saint Augustine would be fitting here: the past is present in the present in the form of objeets. Those “objects” are most often things that we today consider to be works of art. Any historian must not forget these, and, on the other hand, any art historian must not forget the rest. |
