Ikonografija zidnih i stropnih oslika u svetištu župne crkve sv. Ivana Krstitelja u Postirima
| العنوان: | Ikonografija zidnih i stropnih oslika u svetištu župne crkve sv. Ivana Krstitelja u Postirima |
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| المؤلفون: | Matulić, Branko |
| المصدر: | Crkva u svijetu : Crkva u svijetu Volume 58 Issue 1 |
| بيانات النشر: | Katolicki bogoslovni fakultet Sveucilista u Splitu, 2023. |
| سنة النشر: | 2023 |
| مصطلحات موضوعية: | Rudolf Gasperin, don Juraj Dorotić, wall paintings, Postira, zidni oslici, Religious studies |
| الوصف: | Rad se bavi analizom zidnih i stropnih oslika u svetištu župne crkve sv. Ivana Krstitelja u Postirima, komparirajući arhivske i druge izvore te sadašnje stanje oslika. Autor oslika je slovenski slikar Gasperin (Gašperin) Rudolf Alojz Karel, čiji se potpis sačuvao, kao i nadnevak završetka oslikavanja. Naručitelj je tadašnji postirski župnik don Juraj Dorotić. Ikonografija zidnih i stropnih oslika u svetištu jasno je promišljena i ikonografski dobro razrađena, ali je likovna kreacija povjerena umjetniku koji očito nije bio majstor zidnoga slikarstva. U prikazima Krista kao Velikog svećenika, Preobraženja Kristova, Uznesenja Bezgrješne Djevice Marije te četiri evađelista miješaju se secesijska stilizacija i minuli klasični akademizam s natruhama historicizma na tragu kruga Antonija Zuccara i njegovih suradnika, ali su likovno daleko od njihove kvalitete. Tehnička nedoraslost u izvedbi zidnih oslika u svetištu uzrokom je da je već nakon 25 godina bila potrebna restauratorska intervencija. The article analyses the wall and ceiling paintings in the sanctuary of the parish church of St. John the Baptist in Postira, comparing archival and other sources and the current state of paintings. The author of the painting is the Slovenian painter Gasperin (Gasperin) Rudolf Alojz Karel, whose signature has been preserved as well as the date of completion of the painting. The client was the then parish priest of Postira, don Juraj Dorotić. The iconography of the wall and ceiling paintings in the sanctuary is clearly thought out and iconographically well elaborated, but the artistic creation was entrusted to an artist who was clearly not a master of wall painting. The depictions of Christ as High Priest, the Transfiguration of Christ, the Assumption of the Immaculate Virgin Mary and the four Evangelists mix secession stylization and past classical academicism with hints of historicism in the footsteps of Antonio Zuccar and his associates, but far from their quality. Technical immaturity in the execution of wall paintings in the sanctuary is the reason that after 25 years, restoration intervention was needed. |
| وصف الملف: | application/pdf |
| تدمد: | 1848-9656 0352-4000 |
| DOI: | 10.34075/cs.58.1.6 |
| URL الوصول: | https://explore.openaire.eu/search/publication?articleId=doi_dedup___::fc9f49c18744c4013aa996b7ef7cf030 https://doi.org/10.34075/cs.58.1.6 |
| Rights: | OPEN |
| رقم الانضمام: | edsair.doi.dedup.....fc9f49c18744c4013aa996b7ef7cf030 |
| قاعدة البيانات: | OpenAIRE |
| تدمد: | 18489656 03524000 |
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| DOI: | 10.34075/cs.58.1.6 |