Šareni trag Istarskih fresaka

About Šareni trag Istarskih fresaka Android App

Srednji vijek je dugo razdoblje koje u različitim krajevima različito traje. Sačuvane istarske zidne slike nastajale su od 9. do 16. st. u duhu srednjega vijeka iako to razdoblje kronološki probija njegovu granicu. U 16. st. definitivno se utvrđuje granica između habsburških i venecijanskih posjeda u Istri, međutim, do tada je politička karta Istre bila šarolika. Osim Venecije i Austrije, ovim područjem vladali su Akvilejski patrijarhat, Gorički grofovi, Devinci i drugi sitniji feudalci kojima su u leno osim navedenih vladara posjede davali biskupi čak pet povijesnih biskupija: porečke, pulske, tršćanske, koparske i pićanske. Oni su glavni naručitelji umjetnina u srednjem vijeku, uz lokalnu zajednicu koja je umjetnička djela naručivala najčešće putem bratovština (tadašnjih „udruga građana“ i „sindikata“). Rijetko su nam imenom poznati naručitelji, kao i njihovi umjetnici. Iz tame srednjovjekovne anonimnosti prvi izbija Ognobenus Trivisanus, koji je oslikao crkvu sv. Vincenta u Savičenti. Stotinjak godina kasnije pridružuju mu se Albert iz Konstanza, Vincent i Ivan iz Kastva, Antun iz Padove, Klerigin iz Kopra, Blaž Dubrovčanin, Dominik iz Udina i Orlando iz Venecije. I njihovo podrijetlo oslikava šarolikost umjetničke produkcije istarskog srednjovjekovlja. //////// Srednji vek je dolgo obdobje, ki v različnih krajih različno traja. Ohranjene istrske stenske slike so nastajale v časovnem obdobju od 9. do 16. stoletja. V 16. stoletju je definitivno določena meja med habsburškimi in beneškimi posestmi v Istri, do takrat pa je politični zemljevid Istre bil pisan. Razen Benetk in Avstrije so na tem področju vladali Oglejska patriarhija, Goriški grofje, Devinski gospodje in ostali manjši fevdalci, katerim so v zakup, poleg omenjenih vladarjev, dajali posesti škofje petih zgodovinskih škofij: poreške, puljske, tržaške, koprske in pićanske. Le-ti so glavni naročniki umetnin v srednjem veku poleg lokalne skupnosti, ki je umetniška dela naročala preko bratovščin (tedanjih “združenj meščanov” in “sindikatov”). Redko so naročniki znani po imenu, tako kot sami umetniki. Iz teme srednjeveške anonimnosti se je z imenom prvi pojavil Ognobenus Trivisanus, ki je poslikal cerkev sv. Vincenca v Savičenti. Okoli sto let kasneje so se mu pridružili Albert iz Konstanza, Vincenc in Janez iz Kastva, Anton iz Padove, Klerigin iz Kopra, Blaž Dubrovčanin, Dominik iz Vidma in Orlando iz Benetk. Njihovo poreklo odraža pisanost umetniške produkcije istrskega srednjega veka.The Middle Ages were a long period in different parts of different takes. Saved Istrian murals have emerged from the 9th to the 16th century. In the spirit of the Middle Ages although this period chronologically pierces the border. In the 16th century, definitely establishing the boundaries between Habsburg and Venetian territory in Istria, but by then the political map of Istria was colorful. Besides Venice and Austria, this area was ruled by the patriarchy of Aquileia, the Counts of Gorizia, Devinci and other smaller feudal lords who are lazy in addition to the above rulers possessions were given bishops five historic dioceses: Porec, Pula, Trieste, Koper and Pićan. They are the main entities of art in the Middle Ages, with the local community that commissioned works of art mainly through confraternities (the then "associations of citizens" and "union"). Rarely names are known entities, and their artists. From the darkness of medieval anonymity behind for the first Ognobenus Trivisanus, who painted the church. Vincent in Savičenta. A hundred years later joined by Albert from Constance, and John Vincent of Kastav, Anthony of Padua, Klerigin from Koper, Blaž from Dubrovnik, Dominic from Udine and Orlando from Venice. And their origin reflects the diversity of artistic production of the Istrian Middle Ages. //////// Middle Ages was a period of time, in different places different take. Istrian preserved wall paintings were created in the period from the 9th to the 16th century. In the 16th century is definitely the dividing line between Habsburg and Venetian estates in Istria, by which time the political map of Istria was written. Apart from Venice and Austria are in this area ruled Aquileia patriarchy, the counts of Gorizia, Duino lords and other minor feudal lords, which are leased, in addition to these rulers, the bishops gave a clear five historic dioceses: Porec, Pula, Trieste, Koper and Pićan. These are the main clients of art in the Middle Ages in addition to the local community that works of art ordered through fraternities (then "associations of citizens" and "trade unions"). Rarely subscribers are known by name, as are artists. From the darkness of medieval anonymity was named first appeared Ognobenus Trivisanus who painted the church of St. Vincent in Savičenta. Around a hundred years later it was joined by Albert from Constance, Vincent and Janez from Kastav, Anthony of Padua, Klerigin from Koper, Blaž from Dubrovnik, Dominik from Udine and Orlando from Venice. Their lines reflecting variegation of artistic production of the Istrian Middle Ages.