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Zoraida Demori-Staničić ; Regionalni zavod za zaštitu spomenika kulture u Splitu

Puni tekst: engleski pdf 5.266 Kb

str. 183-220

preuzimanja: 1.259


Puni tekst: hrvatski pdf 5.266 Kb

str. 183-220

preuzimanja: 540



Western part of the Dalmatian Hinterland which belongs geographically to Split and Trogir throughout centuries had different historic and cultural development than litoral parts of Dalmatia. The teritory between mountains Svilaja and Kozjak, Moseć and the pass of Klis has rarely been a subject of any research except maybe Middle ages. This article is the first survvey of the Baroque art of the 17th and 18th century on this teritory. Historic background of the 17th and 18th century events in Dalmatia are Venetian-Turkish wars which swept over the Dalmatian Inland leaving it practically inhabited. The border between Venetian Republic and the Otoman Empire cut Dalmatia in two parts changing from Nani line, after war of Candia, which left the Inland in the Turkish iurisdiction, to Grimani line and Mocenigo line after the war of Morea which brought it back under the Venetian dominion. The Turkish retreat ment new life for the whole teritory. New population came form Bosnia and Herzegovina which remained Turkish. Together with these christian settlers come their priests. Churches were built together with new villages and new roads.
Churches from the 17th and 18the centuries are analized with particular interest in the modest baroque forms which appear. The formal analysis is accompanied with documents, mostly ecclesiestical visitations of the churches of the area. Few baroque, paintengs are preserved, among them Gaspare Diziani’s All Saints in the church of Zlopolje. Venetian import is also obvious in numerous silver calices and reliquaries. The general characteristic of the baroque art here is unity between import, mostly Venetian in connection with church and few nobile families who from Serenissima gained estates in Inland for special war merits, and original baroque taste so obvious in wooden sculpture and carvings. These, naive crucifixes with their strong expressiveness are original achievment of the local carvers, plain peasants who living far away from Split and Trogir had in their minds mental pictures of the venetion crucifixes which they tried to repete.
Baroque in the Dalmatian Hinterland has not the category of the style. It is more a chronological sequence of the onehundered and fifty years in which this most poor part of Dalmatia tried to develop certain artistic forms which is spite of all efforts remained very modest and provincial.

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