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Klub Studenata Istorije Umetnosti Ponovo U Okviru Projekta Koji Je Vezan Za Proučavanje Je Pokrenut Tokom Zimskog Semestra 2014

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Klub Studenata Istorije Umetnosti Ponovo U Okviru Projekta Koji Je Vezan Za Proučavanje Je Pokrenut Tokom Zimskog Semestra 2014 slika sa naslovne strane Buše, Fransoa. Toaleta Madam de Pompadur, Kembridž: Fog kolekcija, 1758. Dostupno na: http://www.harvardartmuseums.org/art/303561 ARTUM ISTORIJSKO-UMETNIČKI ČASOPIS, 1.broj izlazi dva puta godišnje ISSN 2406-324X REDAKCIJA izdavač Odeljenje za istoriju umetnosti Filozofskog fakulteta u Beogradu glavni i odgovorni urednik dr Vladana putnik grafički urednik ivona ilić urednik za umetnost novog veka MA VUk dautović urednik za arhitekturu ana knežević urednik za modernu umetnost tamara biljman urednik za stari i srednji vek dr jasmina ćirić urednik za muzeologiju DR milan popadić dizajn i prelom Anđela Vitorović i ivona ilić e-pošta [email protected] beograd, jul 2015. Sadržaj Uvodna reč Redakcija 5 Imperijalni paneli u crkvi San Vitale i mogućnost njihove interpretacije Tamara Miladinović 6 Kameja sa likom Luja XV kao sredstvo definisanja identiteta Madam de Pompadur na portretu njene toalete Miomir Milić 14 Simbolizam u delu Gabrijela fon Maksa Dušica Nikolić 22 Kvart Kopede u Rimu Nina Rakojević 24 Muzej Kralja Petra Prvog Velikog oslobodioca ili kulturni centar kuća kralja Petra Prvog? MA Milica Mađanović 28 Izložba Izopačene umetnosti u Minhenu 1937. godine – pogreb moderne umetnosti Tamara Biljman 32 Reformatorska interpolacija u beogradskom urbanom tkivu: Jugoslovenska udružena banka (1929-1931) arhitekte Huga Erliha 38 prof. dr Aleksandar Kadijević U ime sadašnjosti: prošlost - Pedeset godina od smrti arhitekata Dragiše Brašovana i Milana Zlokovića 43 Katarina Đošan Javni identitet sefardske jevrejske zajednice u Sarajevu Milica Rožman 50 Docomomo Interational: 25 godina postojanja dr Vladana Putnik 56 Miloš Crnjanski - sto dvadeset godina od rođenja, ili o nezaboravljanju Milica Borota 59 Razmišljanja o filmskoj umetnosti Andreja Velimirović 66 O izložbi "Beograd Jovana Bijelića" - razgovor sa autorkom prof. dr Simonom Čupić Marija Sotirov 71 Kad zemljište i grad postanu tržišni resurs - razgovor sa arhitektom Bojanom Kovačevićem 75 Natalija Stokanović, Ana Knežević Vesti 86 UVODNA REČ Sa ciljem objedinjavanja tokova naučno-istraživačkog rada zastupljenih na Odeljenju za istoriju umetnosti Filozofskog fakulteta u Beogradu, 2015. godine je osnovan časopis Artum kao zajedničko glasilo nastavnika i studenata, jedinstveno u srpskoj akademskoj sredini. Za sada dostupan u elektronskoj formi, časopis će dva puta godišnje prezentovati rezultate svojih saradnika u vidu monografskih ogleda, prikaza i rasprava. Osim jačanja emancipatorskog potencijala matične ustanove, njime se aktivno popularišu tekovine beogradske škole istorije umetnosti, više od jednog veka stvaralački prisutne u našoj kulturnoj sredini. Časopis objedinjuje priloge saradnika različitih generacija i metodoloških usmerenja, počev od respektabilnih tumača sa dužim naučnim stažom, do zainteresovanih studenata poslediplomskih i osnovnih studija koji u njemu stiču prva istoriografska iskustva. Tematski raslojen na više redovnih rubrika, časopis je otvoren za doprinose saradnika i iz drugih akademskih centara. Pripremljeni prema uputstvu za autore, prilozi se redakciji mogu dostaviti do kraja meseca maja (za prvi broj u kalendarskoj godini), ili do kraja oktobra (za drugi broj), na adresu: [email protected]. Redakcija časopisa Artum 5 IMPERIJALNI PANELI U CRKVI SAN VITALE I MOGUĆNOSTI NJIHOVE INTERPRETACIJE Tamara MILADINOVIĆ Imperijalni mozaici cara Justinijana i carice Teodore u crkvi San Vitale u Raveni jedan su od najreprezentativnijih primera carskih panela u Vizantijskoj umetnosti VI veka. Smešteni unutar oltarskog prostora hrama, oni čine integralni deo kompleksne mozaičke dekoracije prezviterijuma. Sami za sebe, paneli su bili predmet brojnih rasprava i tumačenja. U njima su pronalaženi različiti značenjski slojevi, u nameri da se objasni pozicioniranje imperijalnog para u najsvetijem prostoru hrama, uz samog Hrista i patrona crkve Svetog Vitalisa koji su prikazani u konhi apside. Dosadašnja istraživanja su uglavnom bila posvećena identifikaciji likova na panelima, samoj radnji koju oni vrše i mestu na kom se ta radnja odvija. Osnovni cilj ovog rada jeste da se tumačenjem ikonografije ova dva panela, kao i isticanjem njihovih sličnosti i razlika, ukaže na različite mogućnosti njihove interpretacije. Time bi se omogućilo jasnije značenje carskih panela i njihove uloge unutar dekorativnog programa Ravenske crkve. Ključne reči: San Vitale, mozaici, Ravena, carski paneli, Justinijan, Teodora, Maksimijan Ravena je oduvek imala značajnu ulogu godine, a u njegovo vreme dovršena je i mozaička unutar Rimskog carstva, pre svega zbog svoje dekoracija (Isto: 224–226). strateške pozicije, ali i nemogućnosti lakog osvajanja grada preko kopna zbog močvarne okoline Imperijalni mozaici, koji su predmet ovog rada, (Deliyannis 2010: 47). Rimski imperator Honorije nalaze se na bočnim zidovima oltarske apside, jedan uvideo je pogodnosti ovakvog položaja, kada je naspram drugog. Na severnom panelu prikazan je car 402. godine, tokom Vizigotske invazije, premestio Justinijan sa pratnjom (slika 1). Imperator je istaknut prestonicu Zapadnog Rimskog carstva iz Milana u centralnim položajem, zlatnim nimbom2 i raskošnom Ravenu (Isto: 46). Krajem V veka, Ravena je pala pod odećom, dok u rukama drži zlatnu patenu. Odeven vlast ostrogotskog kralja Teodoriha koji je od nje je u belu tuniku i raskošnu purpurnu hlamidu koja načinio svoju arijansku prestonicu (Isto: 106). Nakon je ukrašena zlatno vezenim tablionom, prikačenim njegove smrti, car Justinijan (527–565) u potpunosti za njegovo rame crvenim brošem. Na glavi ima usmerava svoju spoljnu politiku ka ponovnom ceremonijalnu dijademu, a na nogama crveno- ujedinjenju Rimskog carstva, što je podrazumevalo purpurne cipele koje su nosili samo imperatori, a oslobađanje Zapadnih delova, pa i Ravene, od koje se na panelu zaista i ističu u odnosu na ostale varvara i arijanaca (Ostrogorski 1959: 88). Glavnu (Deliyannis 2010: 238.). Sa njegove leve strane nalazi ulogu u sprovođenju Justinijanove želje imao je se arhiepiskop Maksimijan, jedina signirana figura na njegov vojskovođa Velizar, čijom je zaslugom Ravena panelu, koji u desnoj ruci drži zlatni procesijksi krst ponovno osvojena 540 godine (Deliyannis 2010: 204; (Isto: 239). Njemu prethode dva đakona koji stoje Ostrogorski 1959: 89). Vizantijska vladavina u Raveni na čelu povorke, a koji nose jevanđelje optočeno obeležena je ekspanzijom gradnje kada nastaju neki rubinima i kadionicu. Desno od Justinijana nalaze od najreprezentativnijih spomenika, među kojima i se dva visoka činovnika, a u krajnjem desnom delu crkva San Vitale (Isto 2010: 201). imperijalna vojska na čijem štitu je prikazan Hristov monogram. Između cara i Maksimijana nalazi se još O fazama gradnje crkve saznajemo od jedna figura koja se identifikuje na različite načine, Agnellusa, hroničara iz IX veka, koji je pisao o što će biti razmotreno kasnije u tekstu (Gulowsen spomenicima tog perioda, a koji je video danas 1999: 116; Isto 2010: 240). Procesija je prikazana u izgubljeni natpis u San Vitale.1 Po njegovim rečima nedefinisanom prostoru, na zelenom tlu i zlatnoj gradnju crkve započeo je episkop Eklezije, još u pozadini. vreme Teodoriha, a patron je bio bogati bankar Julije Argentarije (Isto: 219). Sa gradnjom je nastavljeno tek Južni panel prikazuje caricu Teodoru i članove nakon Vizantisjkog osvajanja 540. godine. Ravenski njene procesije (slika 2). Ona je ovde takođe odevena arhiepiskop Maksimijan osvetio je građevinu 547. u purpurnu hlamidu,3 sa izvezenom predstavom Tri 6 Maga na porubu (McClanan 1998: 13). Ramena su jedna stvarna procesija u pokretu. Smer tog kretanja joj pokrivena bogato ukrašenim okovratnikom, a na određen je rukama đakona, episkopa i cara koji glavi ima raskošnu krunu sa koje se spuštaju dugačke pokazuju ka apsidi. Kicinger smatra da car stoji ispred biserne prependulije. U rukama drži zlatni putir koji ostatka povorke, jer preklapa figure predstavljene do pruža ka istoku, a ističe se i širokim nimbom oko njega. Iako Justinijan stoji ispred ostalih, Maksimijan glave (Deliyannis 2010: 240). Sa njene leve strane je viši jer je predstavljen na nižem delu terena, što nalazi se sedam ženskih figura, odnosno dve dvorske ga čini bližim posmatraču. Prema pomenutom dame koje su istaknutije odećom i položajem uz istraživaču to je urađeno jer je arhiepiskop trebao da samu caricu, i grupa od pet žena zbijenih u uglu, deli istaknuto mesto na mozaiku zajedno sa carem koje su možda prikazane kao vrsta oponenta grupi (Kitzinger 1995: 87). Posmatrajući mozaik kao triptih, vojnika sa suprotnog panela (Gulowsen 1999: 117; Kicinger zanemaruje deo sa vojnicima smeštajući Isto 2010: 241). Na čelu procesije, sa Teodorine desne na taj način u centar imperatora, episkopa i figuru strane, nalaze se dva dvorska oficira, verovatno između njih (Isto: 88). Ukoliko se prihvati takva evnuha (Isto 1999: 117). Pozadina ovog panela je podela, nameće se pitanje identiteta osobe između dosta kompleksnija od prethodne i ona je navodila cara i episkopa, koja je nesumnjivo imala istaknut istraživače na brojna razmišljanja prilikom otkrivanja položaj. Postoje različite pretpostavke prilikom njene njenog značenja. Ta pozadina podrazumeva identifikacije, najčešće se smatra da je to predstava arhitekturu koja se može podeliti u tri celine. U levom patrona crkve, bogatog bankara Julijusa Argentarija delu nalazi se prolaz na kom je zavesa pomaknuta (Weitzmann 1978: 77). Dok, na primer, F. V. Dajhman u stranu, a ispred kog je fontana. U središnjem delu, (F. W. Deichmann) tu figuru identifikuje kao tadašnjeg iza jednog od
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