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Коњаничка скулптура Луја XIV из Државне уметничке колекције дворског комплекса у Београду1 сублимира представљање моћи у малом формату. Овај минуциозно обрађени артефакт од слоноваче и алабастера је визуелизовао норме елитне културе у функцији прослављања монарха. Славу краља истиче декоративни постамент са амблематским приказом окруњеног сунца. Настала током прелазног периода француског барокног класицизма и рококоа, коњаничка фигура Луја XIV својим малим димензијама, ефектом љупкости и лакоће с којом је изведена упућује на дискурс употребе лепог у француској култури. The Equestrian Sculpture of king Louis XIV from the State Art Collection of the Royal Compound in Belgrade is a representative example of the elite arts for the purpose of representation of power of the Sun King. Being created probably in period from the late 17th to the early 18th century, the stylized figure of a rider king has visualized the power of the absolute monarchy in France. The image of a chosen personality made from a combination of ivory and alabaster, by its form and content shows the respect to the standards of decorum in presentation of the noble and outstanding community leaders. The rider’s restrained movement indicates a broader legal and philosophical scope of the absolute monarchy which, in accordance with scientific theories, was based on the hierarchical system with the unquestionable and supreme personality of the baroque ruler in its core. The upcoming new ideas within the structure of French society are visible in features such as the small format and certain pathos of loveliness of this meticulously designed sculpture. The serene classicist figure of a rider along with decorative pedestal carried out in the form of a floral biomorphic structure, set this composition between the reserved and rigid high Baroque classicism and the consumer culture of the upcoming Rococo style, which does not interfere with basic concept of the representation of power in a small format. |
