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Sanja Grković ; Uprava za zaštitu kulturne i prirodne baštine

Puni tekst: hrvatski, pdf (19 MB) str. 43-49 preuzimanja: 129* citiraj
APA 6th Edition
Grković, S. (1995). Bordure u srednjovjekovnome zidnome slikarstvu Istre. Peristil, 38 (1), 43-49. Preuzeto s
MLA 8th Edition
Grković, Sanja. "Bordure u srednjovjekovnome zidnome slikarstvu Istre." Peristil, vol. 38, br. 1, 1995, str. 43-49. Citirano 03.04.2020.
Chicago 17th Edition
Grković, Sanja. "Bordure u srednjovjekovnome zidnome slikarstvu Istre." Peristil 38, br. 1 (1995): 43-49.
Grković, S. (1995). 'Bordure u srednjovjekovnome zidnome slikarstvu Istre', Peristil, 38(1), str. 43-49. Preuzeto s: (Datum pristupa: 03.04.2020.)
Grković S. Bordure u srednjovjekovnome zidnome slikarstvu Istre. Peristil [Internet]. 1995 [pristupljeno 03.04.2020.];38(1):43-49. Dostupno na:
S. Grković, "Bordure u srednjovjekovnome zidnome slikarstvu Istre", Peristil, vol.38, br. 1, str. 43-49, 1995. [Online]. Dostupno na: [Citirano: 03.04.2020.]

Painted borders are an important element in the ensemble of Istrian wall painting. On the wall surface they repeat the horizontals and verticals of the wall, and along the lines where walls (and ceiling) meet they underline their division. They also trace the contours of arches, divide painted surfaces into smaller areas and - on the plain and unarticulated walls in the small churches in Istria "take over the function of articulating surfaces and complementing the architectural element" (B. Fučić) In this article the author publishes the results of several years of systematic study of the motifs and composition of painted borders in The borders vary in dimension and plastic illusion. In the Medieval period they mostly resisted figuration. Romanesque borders tended to be large and to project a suggestion of volume contrasted to the flatness of figural presentation at that period. On the other hand, Gothic borders were reduced, a-tectonic and f lat, framing figurative scenes in which the figures were gradually becoming more voluminous and surrounded by scenery. Arranging her material, the author chooses a formal approach (without however neglecting style, semiology and technology) in her systematization of her findings into three typological groups (also presented on tables). The first group consists of geometrical borders (A). Some of these are based on the rectangle and square (A a 1-8), some on the circle (A b 1-6). This group includes borders decorated with interlace motifs. The second group includes vegetable motifs (B) divided into the acanthus leaf and scroll, the palmetto, ivy etc (B a 1-7) and f lower motifs: the rose, lily etc (B b 1-1). The author points out that it is often not possible to distinguish between leaf and floreal motifs owing to prevailing stylization, and repetition leading to simplification. The third group comprises combined borders (C), composed of geometric, vegetable and even figurative motifs. These borders also include the motif of "God's eye" or the Holy Trinity (C e 1-3) as well as the swastika (C f). Borders can offer good examples of historical and geographic sources and influences. The art of the East - ornamental and decorative by definition - seems to have exercised a strong influence on the painting of scenery borders.

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