Kulturna baština, No. 35, 2009.
Izvorni znanstveni članak
REFLECTIONS OF NATIONAL IDEOLOGY AND CULTURAL NATIONALISM IN THE WORKS OF LJUBO KARAMAN
Ivana Nina Unković
; Hrvatski restauratorski zavod, Odjel u Splitu
Sažetak
It is a truth universally aknowledged that politics and science do not interrelate. The manifestations of youthful arrogance in the field of science have always been considered unwise, since they have always resulted in a large number of unfounded papers, theories and
dicussions. This paper discusses the influence of ideologies and cultural nationalism on Ljubo Karaman’s artistic work. Ljubo Karaman was a distinguished historian of art and a founder of art conservation in Croatia. His passionate objective criticisim is legendary: he challenged rather arrogant thesis of both prominent scientists and agressive patriots. Their thesis were bereft of any objectivity: they were either blurred by the feelings of nationalism (Strzygowsky),
or reflected utter ignorance of the history of art (Hanžeković).
This paper, however, is not meant to denigrate the achievements of the aforementioned scientists in their related fields: it represents an objective criticism of their views and related activities in a rather delicate period of history.
Karaman was never active in politics and yet his work was often unjustly stigmatized. His book, Iz kolijevke hratske prošlosti (From the cradle of the Croatian past), was published in 1930 as a reaction to the book entitled O razvitku starohrvatske umjetnosti (The development of early Croatian art ), written in 1927 by professor Strzygowsky. The criticism that followed the publication of the book is a good example of such unjust stigmatisation. The other two
examples of this kind are his papers on the burning issues at the time: the archdiocese of Split and the erection of the Grgur Ninski statue at the Peristil Square in 1929. A brief overview of social and political scene in the past is also given in the paper, in order to assure a full grasp of the negative impact of politics on art and science.
The outcome of these impacts is always the same. Many examples, that are found in contemporary history, serve as its proof. The examples are as follows: the issue of the socalled Bajamontuša fountain, the statue of Miljenko Smoje in Matejuška, reactions to the new design of Cvjetni Trg (the Flower Square) in Zagreb, and, finally the recent attempt to rename Marshal Tito Square (Trga Maršala Tita) in Zagreb into Kazališni Trg (the Theatre Square). Ljubo Karaman’s reactions to bad political judgement were and are still a source of inspiration.
Science was all that ever interested him: all other fields, politics in particular, were of no interest to him. Karaman’s influence on the science of art history is enormous: the majority of papers written by the contemporary authors either reflect or are referred to some of his views. That is precisely what makes his scientific work so important.
Ključne riječi
Hrčak ID:
66159
URI
Datum izdavanja:
26.11.2009.
Posjeta: 1.693 *