Istrske Freske the FRESCOES of ISTRIA
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Srce Istre KULTUra in DEDIščina Istre, raZVOJ čEZmeJnih TUrističnih itinerarJEV V URBanih in RUraLnih OBMOČJIH Istre JE ODOBren V skLOPU SOseDskega PROgrama SLOVeniJA – MADžarska – HRVAška 2004–2006 Heart of Istria CULTUre anD heritage OF Istria, DEVELOPment OF crOss BORDer TOU- RIST itineraries in URBan anD RUraL areas OF Istria, SUPPOrteD thrOUgh the CON- INTERREG IIIA Sosedski program TEXT OF the NeighBOUrhOOD PROgramme SLOVenia – HUngarY – CROatia 2004–2006 Slovenija – Madžarska – Hrvaška 2004–2006 INTERREG IIIA Neighbourhood programme Slovenia – Hungary – Croatia 2004–2006 IstrsKE freske THE FRESCOES OF ISTRIA Projekt je sofinancirala Evropska unija Projekt je izvedla Istrska županija The project is co-financed by the European Union A project implemented by the Region of Istria Izid publikacije je finančno podprla Evropska unija. This brochure has been produced with the assistance of European Union. Za njeno vsebino odgovarja Istrska županija in ne izraža stališč Evropske unije. The contents of this brochure is the sole responsability of Region of Istria and can in no way be taken to reflect the views of the European Union. TRST TRIESTE Gradišče pri Divači MILJE MUGGIA KOPER IZOLA Podpeč PIRAN Zanigrad Hrastovlje UMAG BUZET Oprtalj BUJE Roč Hum RIJEKA NOVIGRAD Vižinada Draguć Labinci Rakotule Lovran PAZIN bačva Beram poREč Lindar Jasenovik Sv. Lovreč Kloštar žminj Dvigrad Kanfanar šorići LABIN ROVINJ Savičenta Barban Bale Peroj VODNJAN PULJ PULA OPISANE FRESKE DESCRIBED FRESCOES 0 5 10 km FRESKE VREDNE OGLEDA FRESCOES THAT ARE WORTH SEEING ISTRSKE freske 4 THE frescoes OF ISTRIA 5 RIJEKA Bačva 8 Bačva 9 Bale 12 Bale 13 Barban 16 Barban 17 Beram 20 Beram 21 Draguć 24 Draguć 25 Dvigrad 28 Dvigrad 29 Gradišče pri Divači 31 Gradišče pri Divači 33 Hrastovlje 34 Hrastovlje 35 Kanfanar 38 Kanfanar 39 Koper 40 Koper 41 Lindar 42 Lindar 43 Oprtalj 45 Oprtalj 47 Pazin 50 Pazin 51 Peroj (Batvači) 53 Peroj (Batvači) 55 Podpeč pri Črnem Kalu 56 Podpeč pri Črnem Kalu 57 Rakotule 58 Rakotule 59 Savičenta (Svetvinčenat) 61 Savičenta (Svetvinčenat) 63 Sv. Lovreč 64 Sv. Lovreč 65 Vižinada 67 Vižinada 69 Zanigrad 71 Zanigrad 73 74 75 0 5 10 km Žminj Žminj 78 78 viri literature heart of Istria 3 IstrsKE Osuplja velika količina ohranjenega stenskega sli- karstva na relativno majhnem prostoru, kot je Istra. Gre za približno 140 lokalitet, od velikih in razkoš- nih freskantskih ciklov do posameznih prizorov in drobnih fragmentov. Prve freske v Istri so nastale na freskeprehodu iz 8. v 9. stoletje, a v 11. stoletju se je začela prava produkcija stenskega slikarstva, ki je trajala vse do sredine 16. stoletja. Istrske freske so živa in avten- tična umetnost in skoraj vse se nahajajo v cerkvicah, slikovitih istrskih mestecih, vaseh ali osamljene, na hribu. Tedanja cerkev kot da ni bila dovršena, dokler je niso mojstri – slikarji okrasili s freskami. V srednjem veku freske niso bile le okras, temveč mnogo več. Nepismenost, pogost pojav v sred- njeveški istrski vasi, so blažili s freskami, berilom za nepismene. Vaščan se je čudil podobam Kristusa, Device Marije, Boga, molil pred sliko svetnika, za- ščitnika cerkve, župnije in mesta, in se bal grešiti, ker je vedel: čakajo ga prizori iz poslednje sodbe, opomini, ki so jih slikarji strateško postavljali na zahodno steno, na izhodu iz cerkve. Istrske freske so pravzaprav besedila, pretočena v slike, vsebine, razumljive občinstvu, ki jih bere gledajoč. heart of Istria THE FRESCOES OF ISTRIA The great number of preserved frescoes to be seen on the western wall, where they could be observed while the relatively small territory of the Istrian peninsula is leaving the church. Istrian frescoes are, in fact, texts amazing. We can speak of close to 140 localities, varying transformed into pictures that the parishioners could from large and rich fresco cycles to individual scenes understand just by looking at them. and tiny fragments. These frescoes can be tracked back The Benedictines were the first to introduce wall paint- to the turn of 9th century, but it is during the 11th cen- ing in Istrian churches during the 11th century. The fres- tury that they started to be produced in great number coes painted by the Benedictines usually have Roman- that continued to the middle of the 16th century. Istrian esque and Byzantine elements. Romanesque painting frescoes are vivid and authentic art works, nearly all of had not only a wide influence on Istrian fresco painting. which can be seen in little churches scattered around It also determined the basic spatial relation between small, picturesque Istrian towns or villages usually painting and architecture: the image of Christ was situated on secluded hilltops. At that time, a church painted on the apse, the Apostles were painted below wouldn’t be considered finished if a painter hadn’t Christ, while the Annunciation, or the image of Cain and made frescoes. Abel, were painted on the triumphal arch before the In the Middle Ages, frescoes were not just for decora- apse. The southern wall depicted scenes from Christ’s tion. They meant much more than that. Illiteracy, the youth while the Passion of Christ was illustrated along common feature in the Early Medieval period was mini- the north wall. The great admonitory scenes, such as mised by frescoes that could easily be understood. The the sins, the inevitability of death, The Last Judgement, peasants admired the images of Christ, the Holy Virgin hell and heaven as a reward for the moral and inno- or God; prayed to the pictures of patron saint of the cent were usually painted on the west wall. The choice church, parish or settlement. At the same time the peas- of themes was widened during the Gothic period, the ants were afraid to sin because, looking at the scenes golden age of wall painting in Istria, when church inte- of The Last Judgement they knew what awaited them. riors displayed scenes from the Bible and the legends of For this reason, the painters cleverly painted pictures on saints. These are only general characteristics, since each heart of Istria Prve pomembnejše freske so v Istro prinesli benediktin- je največje število ohranjenih fresk, mnogi avtorji so ci, katerih zgodnje stvaritve datiramo v 11. stoletje. Oni znani, medtem ko so posamezne cikle ustvarili visoko so pogosto tudi avtorji fresk z romanskimi in bizantin- izobraženi slikarji – mojstri iz sosednjih dežel. Renesan- skimi elementi. Romansko slikarstvo je pustilo globo- sa ni pustila poseben pečat v fresko slikarstvu Istre in ko sled na fresko slikarstvo Istre in utemeljilo osnovne neredko je opaziti tradicijo zgodnejših fresk. Avtorji, ki prostorske odnose arhitekture in slike: v apsidi se na- so blizu renesančnim slogovnim karakteristikam, slika- haja podoba Kristusa, pod njim apostolski liki, medtem jo, bolj ali manj uspešno, prizore v perspektivi in monu- ko je na slavoloku upodobljeno Oznanjenje Mariji ter mentalne celopostavne figure svetnikov. včasih Kajn in Abel. Na stenah je naslikano Kristusovo Po Branku Fučiću, najbolj cenjenemu raziskovalcu in po- življenje: na južni steni Kristusova mladost, a na sever- znavalcu istrskih fresk, so mojstri-slikarji najprej na de- ni njegov pasijon. Na zahodni steni so podobe velikih belo in grobo ometali vso notranjost cerkve, potem so opominov: greh, neizogibnost smrti, poslednja sodba, presejali apno ter ga zamešali z najdrobnejšim peskom pekel in raj kot nagrada za dobre in pravične. V goti- in na tenko prevlekli prvo grobo plast. Druge plasti niso ki, zlatem obdobju istrskega stenskega slikarstva, se je naenkrat premazali, temveč so iz dneva v dan gladko tematika razširjala s ciklusom iz življenja posameznih namazali le tisti del, ki so ga tisti dan poslikali, a pred sli- svetnikov ter različnimi biblijskimi prizori, ki bogatijo kanjem so z nitjo, poprašeno z zemljo, ločili polja, včrtali zgodnejši repertoar. Seveda so to le splošne značilnosti obrise likovnega prizora, nato še moker omet prebelili z in vsaka cerkvica je variacija na temo. Iz tega obdobja apnenim mlekom in šele tedaj začeli s poslikavo. SEZNAM POMEMBNEJŠIH ISTRSKIH FRESK: Vsaka od naštetih lokacij s freskami je omembe vredna, Bačva, Bale, Barban, Bazgalji, Beram, Bičići, Brseč, Bu- in če jih imate možnost pogledati, vsekakor to naredite. toniga, Črnica, Draguć, Dvigrad, Fažana, Gologorica, KRAJI Z OBRAVNAVANIMI FRESKAMI: Gračišće, Gradišče pri Divači, Gradinje, Hrastovlje, Bačva, Bale, Barban, Beram, Draguć, Dvigrad, Gra- Hum, Jasenovik, Kanfanar, Kloštar, Koromačno, Labin- dišče pri Divači, Hrastovlje, Kanfanar, Koper, Lindar, ci, Lindar, Lovran, Maružini, Medulin, Nova vas, Opr- Oprtalj, Pazin, Peroj (Batvači), Podpeč pri Črnem Kalu, talj, Paz, Pazin, Peroj (Batvači), Pićan, Plomin, Podpeč Rakotule, Savičenta (Svetvinčenat), Sv. Lovreč, Vižina- pri Črnem Kalu, Pomer, Poreč, Prodol, Pulj, Radovani, da, Zanigrad, Žminj. Rakotule, Roč, Slum, Sorbar, Sovinjak, Savičenta (Sve- tvinčenat), Sv. Lovreč, Šorići, Višnjan, Vižinada, Vranja, Freske, ki so predstavljene v tej publikaciji, so tu zaradi Zanigrad, Žminj. reprezentativnosti in zgodovinskega pomena. heart of Istria church varies in some feature. The most representative According to Mr. Branko Fučić, a well renowned expert examples of wall painting, painted by acknowledged in Istrian fresco painting, the Istrian masters painted authors, date from the Gothic period. Nevertheless, frescoes using the following pattern: first of all, a mas- highly educated painters from neighbouring countries ter would plaster the walls inside the church. Then he produced particular fresco cycles. The Renaissance has would sieve the lime to mix it with the finest sand to not left a notable imprint on fresco painting in Istria, but spread the first rough layer. After that he would gradu- the influence of early fresco painting is frequently vis- ally spread the second, finer layer. The master would ible. Artists who, with greater or lesser success, adopted spread as much of the second layer as expected for a the characteristics of Renaissance painting, demon- day’s painting. Using an earth-dusted thread he would strated perspective representation and painted monu- chart the fields on the surface outlining the image.