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7. Ples s smrtjo : negacija in potrjevanje hierarhije v podobah mrtvaškega plesaTomislav Vignjević, 2006, izvirni znanstveni članek Opis: The dance of death, one of the most characteristic motifs of late-mediaeval and Renaissance art, has within the scope of its meaning preserved the basically negative connotation of a dance that was condemned by the Church throughout the Middle Ages. As a specific form of dancing in graveyards, quite widespread in the mediaeval period and prohibited by numerous Church orders, it further augmented the quality of subverting social and religious norms as one of the constitutive elements of the dance of death iconography. It combined the duality of meaning exhibited by the representation of an entire social structure in the form of a dance in which members of individual classes dance with Death. The hierarchy of the social structure, based on gradation from the pope at the beginning to the beggar and child at the end of the line, was presented in a transparent way and at the same time distorted by the fundamental idea of being equal before Death and by the dance with skeletons, which stood for the annulment of the hierarchical order. The social structure as presented by dances of death corresponded to the already familiar class distinctions, depicted in this iconographic topic in various types of classification into larger social groups: from the three-functional distinction into three social orders and the division into clerics and lay people, to the most widespread form of alternation of secular and clerical classes. Thus, the familiar models of social distinction into classes and groups were represented, the holders of authority and social power manifestly set at the head of a hierarchy that was at the same time the object of egalitarian criticism.
Ključne besede: ples, mrtvaški ples, stanovi, reprezentacija
Objavljeno v RUP: 10.07.2015; Ogledov: 3085; Prenosov: 42
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9. Grozljiva zgovornost tišine : slikarstvo Luca TuymansaTomislav Vignjević, 2008, izvirni znanstveni članek Opis: Luc Tuzmans, eden najvidnejših sodobnih slikarjev, v svojem umetniškem delovanju izpričuje izjemno oseben pristop, saj so njegove slike določene z nekontinuirano, fragmentarno naracijo. Na slikah so izolirani posamezni detajli (predmeti, interierji, obrazi), ki šele ob poglobljenem preučevanju kontekstualnih povezav teh fragmentov gledalcu prezentirajo izjemno bogato in pomensko nasičeno metaforiko. Za njegova dela je značilna izolacija fragmenta, ki je v marsičem blizu Freudovemu konceptu "das Unheimliche", pri katerem nas vsakdanji objekt ali interier ob natančnejšem posvečanju celoti, iz katere je iztrgan, sooči z nekoliko "grozljivo" pripovedjo, bodisi o nacizmu, kolonialni preteklosti ali bolezni.
Ključne besede: slikarstvo, fragment, das Unheimliche
Objavljeno v RUP: 10.07.2015; Ogledov: 2289; Prenosov: 10
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10. Med dobrim in slabim razbojnikom : ikonografija in slog nekaterih upodobitev Kristusovega križanja na prehodu v novi vekTomislav Vignjević, 2008, izvirni znanstveni članek Opis: At the end of the 14th century and in the 15th century, painting outside Italy witnessed an incredible spread of rich narrative depictions of the key event of the Passion. The Crucifixion of Christ was depicted as a narrative enriched with numerous details and portraying a number of characters, with special emphasis being placed on the two thieves crucified alongside Christ. As a rule, the good thief Dysmas was depicted on Christ's right hand side, while impenitent Gestas was placed on his left hand side. His depictions reveal many signs of the cruel punishment inflicted on criminals at that time. The iconography of such representations thus offers a fairly precise reflection of the then case law and methods of punishment. Several depictions of this motif are also preserved in central European painting. In Slovenia, the most comprehensive frescoes can be found in the Church of Dovje which used to be under the Freising Diocese. Depicting many narrative details (Veronica, soldiers throwing dice and quarrelling, huge military escort on Calvary, the group composed of Mary, John the Evangelist and Mary Magdalene at the foot of the cross, etc.), the scene preserved speaks in favour of the fact that its painter modeled it on depictions of the Crucifixion as found in southern Germany and Salzburg, in particular on paintings by Conrad Laib
Ključne besede: Kristusovo križanje, ikonografija, Dovje, kazenske prakse
Objavljeno v RUP: 10.07.2015; Ogledov: 2586; Prenosov: 36
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