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Puni Tekst: Hrvatski, Pdf (2 PROSTOR 19 [2011] 2 [42] ZNANSTVENI ÈASOPIS ZA ARHITEKTURU I URBANIZAM A SCHOLARLY JOURNAL OF ARCHITECTURE AND URBAN PLANNING SVEUÈILIŠTE POSEBNI OTISAK / SEPARAT OFFPRINT U ZAGREBU, ARHITEKTONSKI FAKULTET Znanstveni prilozi Scientific Papers UNIVERSITY OF ZAGREB, FACULTY 416-427 Ana Sopina Perivoji skulptura u Zagrebu Sculpture Parks in Zagreb OF ARCHITECTURE Jesenko Horvat Prethodno priopæenje Preliminary Communications ISSN 1330-0652 UDK 712:730(497.5 Zagreb)”19/00” UDC 712:730(497.5 Zagreb)”19/00” CODEN PORREV UDK | UDC 71/72 19 [2011] 2 [42] 281-542 7-12 [2011] 11 10 9 8 7 6 5 4 3 2 1 1 2 3 4 5 6 7 8 9 10 11 10 11 Sl. 1. Aleja skulptura na Savi: 1. Kotaè vremena, Milena Lah; 2. Žabinjak, Stjepan Graèan; 3. Èovjek s kolutom, Mladen Mikulin; 4. Maèka, Branko Ružiæ; 5. Kapi, Ratko Petriæ; 6. Dvoje, Šime Vulas; 7. Tok, Dora Kovaèeviæ; 8. Kamen temeljac, Miro Vuco; 9. Trkaè, Marija Ujeviæ-Galetoviæ; 10. Ruka, Ivan Kožariæ; 11. Putokaz, Zvonimir Lonèariæ Fig. 1 Sculpture Walk on the Sava embankment: 1. Time Wheel, Milena Lah; 2. Frog Pond, Stjepan Graèan; 3. A Man with a Hoop, Mladen Mikulin; 4. Cat, Branko Ružiæ; 5. Drops, Ratko Petriæ; 6. Two, Šime Vulas; 7. Flow, Dora Kovaèeviæ; 8. Foundation Stone, Miro Vuco; 9. Runner, Marija Ujeviæ-Galetoviæ; 10. Hand, Ivan Kožariæ; 11. Signpost, Zvonimir Lonèariæ Znanstveni prilozi | Scientific Papers 19[2011] 2[42] PROSTOR 417 Ana Sopina, Jesenko Horvat Sveuèilište u Zagrebu University of Zagreb Arhitektonski fakultet Faculty of Architecture HR - 10000 Zagreb, Kaèiæeva 26 HR - 10000 Zagreb, Kaèiæeva 26 Prethodno priopæenje Preliminary Communication UDK 712:730(497.5 Zagreb)”19/00” UDC 712:730(497.5 Zagreb)”19/00” Tehnièke znanosti / Arhitektura i urbanizam Technical Sciences / Architecture and Urban Planning 2.01.02 - Urbanizam i prostorno planiranje 2.01.02 - Urban and Physical Planning 2.01.05 - Pejsažna arhitektura 2.01.05 - Landscape Architecture Èlanak primljen / prihvaæen: 5. 5. 2011. / 5. 12. 2011. Article Received / Accepted: 5. 5. 2011. / 5. 12. 2011. Perivoji skulptura u Zagrebu Sculpture Parks in Zagreb perivoj skulptura sculpture park tematski perivoj theme park Zagreb Zagreb Park (perivoj) skulptura u struènoj se literaturi ponajprije definira kroz jed- The sculpture park has primarily been defined in professional literature in noznaèan odnos skulpture i perivoja. Danas je park skulptura potrebno redefi- terms of relationship between sculptures and parks. Today, it is necessary to nirati sukladno naèinu života, obuhvaæajuæi slobodno i pluralistièko djelovanje redefine it according to the way of life and to the context of free and pluralist u cjelokupnoj životnoj sredini. Stoga zagrebaèke parkove skulptura trebamo creative expressions in an entire living environment. Zagreb’s sculpture parks promatrati kao nerazdvojan dio cjeline grada, kao utjelovljenje umjetnièkog should thus be seen as an inseparable part of the city as a whole and a mani- djelovanja èovjeka u njegovoj životnoj okolini. festation of human artistic expression. 418 PROSTOR 2[42] 19[2011] 416-427 A. SOPINA, J. HORVAT Perivoji skulptura u Zagrebu Znanstveni prilozi | Scientific Papers PARK (PERIVOJ) SKULPTURA se mijenjalo - od netaknute prirode u doba - predantike preko ureðenih perivoja vila, pa- POJMOVNO ODREÐENJE laèa, dvorova i javnih graðevina, do današnjih javnih prostora i cjelokupnoga kulturnog kra- SCULPTURE PARK jolika èovjeka. Evoluciju umjetnièkog djela, - DEFINITION OF THE TERM skulptura i perivoja trebala bi pratiti i redefi- nicija parka skulpture. Perceptivne i seman- tièke relacije izmeðu umjetnièkog djela i èov- jekova životnog okruženja te njihovu meðu- ovisnost pratimo tijekom svih kulturnih i civilizacijskih epoha od predantièkih vreme- na do danas. Umjetnièka djela prapovijesnih kultura po- stavljenih u pejsaž, kao izvorište suvremenog poimanja parka skulpture, ne možemo gleda- ti iskljuèivo kroz odnos artefakta i pejsaža. Parkove klasiènih skulptura - postavljene uz vile, palaèe i dvorove imuænih obitelji antièkih Rimljana, renesanse, baroka i 19. stoljeæa - takoðer ne možemo odreðivati samo odno- som skulpture i perivoja. Ni suvremene par- kove skulptura - kreirane utjecajem kultur- nog i umjetnièkog pluralizma 20. stoljeæa u kojem dolazi do potpunog isprepletanja um- jetnièkih djela, arhitekture, urbanizma, pej- sažne umjetnosti, perivoja, kulturnog i priro- dnog pejsaža - ne gledamo na taj iskljuèivi naèin. Upravo zbog trajne veze èovjeka i nje- gova životnog okoliša park skulpture treba pojmiti kao opredmeæenje umjetnièkog èina u prostoru svekolikoga ljudskog djelovanja. Park (perivoj) skulptura najjednostavnije je opisati kao hibrid perivojno ureðenog prosto- POVIJESNI RAZVOJ PERIVOJA SKULPTURA ra i postava skulptorskih izložaka, ali park − skulptura zapravo je više od iskljuèivog zbro- PERIVOJI SKULPTURA KROZ KONTEKST ja njegovih sastavnica. Najcjelovitiju defini- PROSTORA I VREMENA ciju daje Michael Lancaster u The dictionary HISTORICAL DEVELOPMENT OF of Art: Park skulptura je tip perivoja dizajni- SCULPTURE PARKS − SCULPTURE PARKS ran da prikaže kolekciju skulptura na otvore- nom prostoru ili u pejsažu,1 no ova definicija IN THE CONTEXT OF SPACE AND TIME neka pitanja ipak ostavlja otvorenima. Iz defi- Praizvore parkova skulptura možemo pronaæi nicije Michaela Lancastera daje se razaznati u umjetnièkim djelima predantike, u špiljskim razlika izmeðu perivoja u kojem su postav- svetištima i grobovima, u totemima bogova i ljene skul pture i parka skulptura. Razliku vladara,2 u skulpturama koje su bile vezane možemo ponajprije pronaæi u namjeri kojom ponajprije za kult i religiju, iako do današnjih su postav ljene skulpture, odnosno namjeri dana ne možemo sa sigurnošæu znati èemu kojom je oblikovan prostor gdje je skulptura su one toèno služile.3 Od predantike do civili- postav ljena. U perivojima se skulpture naj- zacije antièkih Grka, ukljuèujuæi i kasnije kul- èešæe postavljaju kako bi se pojaèao dojam ture Južne Amerike, skulpture su bile postav- ambi jenta koji perivojni prostor izaziva u po- ljane u pejsaž, stvarajuæi nerazdvojnu cjelinu sjetitelja. S druge strane, u parkovima skulp- sa životnim prostorom ljudi. Primjere neraz- tura prostorno je ureðenje prilagoðeno po- dvojne cjeline umjetnièkih radova i prirode, najprije prezentaciji skulpture. primjere monumentalnih skulptura postavlje- Ono što u definiciji Michaela Lancastera os- nih slobodno u krajolik, nalazimo u menhiri- taje nedovoljno istraženo jest opseg pojma. ma i dolmenima predantièkih kultura Euro- Ponajprije odreðen odnosom skulpture, kao pe,4 u skulpturama5 i hramovima antièkih umjetnièkog djela, i njezine okoline - park skulptura evoluirao je tijekom povijesti za- jedno s razvojem njegovih pojedinaènih kom- 1 *** 1996: 314 ponenti. Skulpture su se naime razvijale od 2 *** 1996: 314 prvotnih grubo obraðenih kamenih gromada 3 *** 1996: 314 4 Nizovi megalita Carnac, jugozapadna obala Bretagne, pronaðenih u prirodi preko vrhunski izve- Francuska; kružni nizovi menhira i/ili dolmena Stonehen- denih realistiènih prikaza scena iz ljudskog ge, uz Salisbury i Avebury, uz Wiltshire u Engleskoj. života do suvremenih apstrakcija i umjetniè- 5 Fidijina skulptura Atene Parthenos, u Parthenonu na kih instalacija. Okruženje umjetnièkih djela atenskoj Akropoli, i skulptura Zeusa, u Zeusovu hramu u Znanstveni prilozi | Scientific Papers Perivoji skulptura u Zagrebu A. SOPINA, J. HORVAT 416-427 19[2011] 2[42] PROSTOR 419 Grka, u sfingama, obeliscima i kolosalnim nesanse,11 baroka12 i klasicizma,13 sve do kraja skulpturama uz grobne hramove6 egipatske 19. stoljeæa, razvijaju u klasiènoj formi. No kulture, u velikim skulpturama ljudskih liko- promjene koje su uzor prostornog koncepta va na Uskršnjim otocima,7 te u crtežima kul- 20. stoljeæa mogu se naslutiti veæ u baroku, ture Nazca8 vidljivima jedino iz zraka. Skulp- otkada pratimo nedjeljivost perivojne arhi- ture predantike i antike do danas ostavljaju tekture, arhitekture i urbanizma, te od 19. svjedoèanstvo o umjetnosti nestalih kultura, stoljeæa kada javni perivoji postaju važan skulptorskim djelima u prirodnom okruženju, sadržaj grada i sastavni dio njegove urbani- te nepobitnoj vezi umjetnosti i prirodnoga stièke kompozicije. èovjekova okruženja. Poèetkom 20. stoljeæa diljem Europe razvijaju Od antièkog Rima pa sve do poèetka 20. sto- se brojni umjetnièki pravci i pokreti, gradeæi ljeæa pratimo razvoj parkova skulptura kroz umjetnièki i kulturni pluralizam koji je obilje- primjere postava kipova u perivojno ureðene žio cijelo stoljeæe, a nastavio se i u 21. sto- prostore. Jedino su u razdoblju srednjeg vije- ljeæu. Pojava apstrakcije u skulpturi redefini- ka slobodnostojeæe skulpture gotovo nestale rala je odnos izmeðu umjetnosti i tradicije, jer su povezivane s poganskim obièajima i izmeðu umjetnosti i prostornog konteksta u Sl. 2. Položaj parkova skulptura u gradu Zagrebu: idolopoklonstvom. U doba Rimskog Carstva,9 1. Park skulptura Mladost, 2. Aleja skulptura na kojem se prikazuje. Nasuprot ovomu, plurali- Savi, 3. Park skulptura Akademije likovnih umjetnosti te poslije u doba renesanse i baroka, skulp- zam 20. stoljeæa osigurao je i opstanak figu- u Zagrebu, 4. Park skulptura Gliptoteke, 5. Park ture su bile postavljane u perivojima uz vile, racije u prostorima parkova kroz novi arhetip skulptura Zbirke Vjenceslava Richtera i Nade Kareš- palaèe i dvorove imuænih obitelji,10 predstav- - park skulpture posveæen jednom autoru.14 -Richter ljajuæi odraz društvene, politièke i financijske Fig. 2 Location of sculpture parks in Zagreb: Konceptualna umjetnost 20. stoljeæa
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