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Dvije Nerijeve vješte ikonografske interpretacije biblijskoga teksta
No full textNerio’s initial D(e ventre matris mee...) from Gradual D of the Zadar Franciscans has been misinterpreted in scholarly literature, earning the miniaturist a bad reputation as an iconographer. L. Mirković did not recognize that the initial depicts simultaneously two connected events from Luke’s Gospel: Annunciation to Zechariah (Lk 1:5-25) and the Birth of John the Baptist (Lk 1:57-66). This article aims to prove the opposite, namely that Nerio was unusually skilled in translating the liturgical text into visual language. This opinion is supported by the analysis of Nerio’s cutting preserved at the British Library, depicting Christ, an apostle, and an executioner taking a sheep to be slaughtered. So far, no correct interpretation of this scene has been offered. The author considers it to be a visual interpretation of the First Response of the nocturnal Mass for Holy Saturday. The citation is taken from Isaiah (53/7) and reads: Sicut ovis ad occisionem ductus est et, dum male tractaretur non aperuit os suum (“He was led like a lamb to the slaughter, and as a sheep before its shearers is silent, so he did not open his mouth”). Nerio wanted to depict Christ’s silence and succeeded in doing so by introducing an apostle into the scene to enter into a dialogue with the executioner, indirectly emphasizing Christ’s silence. Christ seems to distance himself from the event, turning his back to it. Nevertheless, he turns his head back towards the executioner, recognizing his own fate in the sheep and accepting it without a word.Nerijev inicijal D(e ventre matris mee…) iz graduala D kod zadarskih franjevaca u literaturi je pogrešno interpretiran, a sam je minijaturist ocijenjen kao loš ikonograf. Naime, L. Mirković nije prepoznao da su u tom inicijalu istodobno prikazana dva povezana događaja iz Lukina evanđelja, Navještenje Zahariji (Lk, 1, 5–25) i Rođenje Ivana Krstitelja (Lk, 1, 57–66). Autor, naprotiv, smatra da je Nerije neobično vješt u prevođenju liturgijskog teksta u likovni jezik. To dodatno argumentira analizom Nerijeva ostriška u British Library na kojem su prikazani Krist i apostol te krvnik koji odvodi ovcu na klanje. Do sada nije ponuđeno ispravno tumačenje ovog prizora. Autor zaključuje da je to likovna interpretacija prvog responzorija nokturna na Veliku subotu. Preuzet je od Izaije (53/7), a glasi: Sicut ovis ad occisionem ductus est et, dum male tractaretur non aperuit os suum, dakle: „Ko jagnje na klanje odvedoše ga, ko ovca, nijema pred onima što je strižu nije otvorio usta svojih". Nerije je inzistirao na prikazu Kristove šutnje, a to uspijeva time što u scenu uvodi apostola koji uspostavlja dijalog s krvnikom čime se naglašava Kristova šutnja. Krist se pritom nastoji udaljiti od događaja, pa mu je okrenut leđima. Ipak, okreće glavu unatrag prepoznajući u ovci vlastitu sudbinu, prihvaćajući je bez riječi
Palača šećerane u Rijeci i modeli poslovno-stambene arhitekture 18. stoljeća na sjevernom Jadranu
No full textThe author examines the spatial features of the administrative building of the sugar refinery in Rijeka, also known as the Palace of the Privileged Company of Trieste and Fiume. The analysis focuses on two significant phases in its history: the initial construction in 1752 and the subsequent renovation following the fire in 1785/86. By identifying spaces designated for living, business operations, and storage, the author provides a new interpretation of the original intended functions of the building’s floors and rooms. The palace’s architectural design is associated with a group of business-residential structures built in Trieste during the latter half of the 18th century. These structures share remarkably similar spatial characteristics, which are evident from archival drawings since most of the palaces have not survived. The comparisons further imply the existence of a standardized spatial design for mixed-use business and residential buildings, whether these were erected by affluent merchants for their own dual-purpose use or by large, privileged private companies that had their headquarters in Trieste during the 18th century.U članku se analiziraju prostorna obilježja upravne zgrade šećerane u Rijeci – palače Tršćansko-riječke privilegirane kompanije, s obzirom na dvije ključne faze njezina građevnog razvoja, razdoblje izgradnje 1752. i obnovu nakon požara 1785. – 1786. godine. Razmatra se funkcija pojedinih etaža i prostorija u zgradi, te utvrđuju namjenski prostori za stanovanje, poslovne sadržaje i skladišta. Palača se dovodi u vezu s korpusom arhitekture reprezentativnih poslovnostambenih palača izgrađenih u Trstu u drugoj polovini 18. stoljeća, koje nose vrlo slične prostorne karakteristike, a one se mogu iščitati iz arhivskih nacrta, jer same palače uglavnom nisu sačuvane. Navedene usporedbe upućuju, nadalje, na postojanje konkretnog tipskog obrasca za prostorno rješenje zgrada poslovno stambene namjene, bilo da ih podižu imućni trgovci za vlastito stanovanje i djelatnost, ili pak velike privilegirane kompanije koje su imale sjedišta u Trstu tijekom 18. stoljeća
Pogled svisoka na uzgibanu stvarnost: uz slikarstvo Ive Dulčića
No full textCommencing in the 1950s, Dulčić portrayed the city of Dubrovnik in its various facets – streets, the lively Stradun during summer, bustling squares, sports events, beaches, and religious processions. His unique perspective, often from elevated vantage points providing a bird’s-eye view, consistently incorporates human silhouettes. Dulčić’s canvases are stages of new, dynamic, and visually captivating events, swirling movements, and restless crowds. A painter of the commotion of swarming streets, overcrowded and scorching beaches, and vivacious playgrounds bursting with life amid the Mediterranean summer heat, the painter employed a rich palette and dynamic action. His use of thick layers of pure colours cleared up the palette and introduced strong colourism, dissolving objects into stains – which makes the identification of motifs difficult – and creating a vibrant atmosphere of unlimited space.Od 50-ih godina 20. stoljeća s visokih motrišta, iz ptičje perspektive, ali uvijek s ljudskim siluetama, Dulčić prikazuje grad, ulice, bučni Stradun ljeti, trgove, sportska zbivanja, kupališta, procesije i njegova su platna prostor novog, uvijek dinamičnog te vizualno atraktivnog događanja, vrtložnih kretanja i uskomešanosti svjetine. Slikar ulične vreve, pretrpanih i zažarenih plaža usred ljetnoga mediteranskog usijanja, punih igrališta koja pršte životom bogatom paletom i dinamičnim postupcima, gustim namazima čistih boja rasvjetljuje paletu, započinje snažan kolorizam, rastače predmete na mrlje – čime je i identifikacija motiva otežana – i postiže titravu atmosferu neograničena prostora
Nella Lonza, Ana, Pavo, Grlica: Rekluze i pustinjaci u pobožnom krajobrazu srednjovjekovnog Dubrovnika
No full textNella Lonza’s latest book thoroughly examines the phenomenon of eremitism within the religious landscape of medieval Dubrovnik. The book is a pioneering contribution to the cultural and religious heritage of Dubrovnik and its surrounding, as well as the entire Adriatic coast. Lonza’s research will undoubtedly resonate among scholars engaged in the study of these issues within the broader Mediterranean and European contexts, particularly during the medieval and Renaissance periods when the sacred and religious were still intricately intertwined with the profane and secular aspects of society.Najnovija knjiga Nelle Lonza do tančina istražuje fenomen pustinjaštva u pobožnom krajobrazu srednjovjekovnog Dubrovnika. Knjiga je upravo pionirski doprinos kulturnoj i religijskoj baštini Dubrovnika, dubrovačkog kraja, ali i čitave naše obale, doprinos koji će bez ikakve sumnje imati odjeka u historiografiji koja se bavi ovim pitanjima u širem sredozemnom i europskom kontekstu, u vremenu srednjeg vijeka i renesanse, u kojem su sveto i religiozno još nerazdruživo spojeni s profanim i svjetovnim
Vinko Srhoj, Crno na bijelo i vice versa
No full textThis review presents and analyses Vinko Srhoj’s book Black on White and Vice Versa, a compilation of his selected writings on art spanning the last four decades. The selection includes texts of various genres, ranging from scholarly papers, conference talks, and reviews in professional journals, magazines, and daily newspapers to polemics and political interventions in the public sphere. The examination is contextualized within the transformation of the artistic field and the crisis of art criticism, elements that have significantly shaped Srhoj’s career, with the aim of underscoring the significance of his contributions. While Srhoj is a critic of the “old school,” his critical procedure is by no means modernistically distanced: instead, he skilfully blends the utopian dimension of art criticism, integral to the modernist project, with a postmodern critique targeting the (modernist) pillars of the art institution. The collection of texts seamlessly synthesizes the author’s thematic, aesthetic, and theoretical concerns, offering a comprehensive overview of Croatian modern and contemporary sculpture and painting, contextualized within the broader landscape of artistic developments on both the local and international art scenes, as well as within its own socio-political setting.Tekst predstavlja i analizira knjigu Vinka Srhoja Crno na bijelo i vice versa, koja obuhvaća njegove izabrane napise o umjetnosti iz posljednjih četiriju desetljeća, i to iz nekoliko registara, od znanstvenih radova i izlaganja na znanstvenim skupovima, preko kritika u stručnim časopisima i dnevnim novinama, sve do polemika i političkih intervencija u javnoj sferi. Pristupa joj se iz rakursa transformacija umjetničkog polja i krize kritike koje su uokvirile i kritičarov „radni staž” da bi se u tom svjetlu sagledala važnost njegova zahvata. Srhoj je kritičar „staroga kova”, ali njegov kritičarski postupak nipošto nije modernistički distanciran, on utopijski aspekt kritike nužan za modernistički projekt spaja s postmodernom kritikom (modernističkih) stubova institucije umjetnosti. Zbirka skladno uvezuje autorove preokupacije, tematske, estetske i teorijske, te predstavlja i svojevrsni pregled domaćeg modernog i suvremenog kiparstva i slikarstva, u kontekstu umjetničkog razvoja na lokalnoj i međunarodnoj umjetničkoj sceni te u svojem društvenopolitičkom kontekstu
Modeliranje investicijskih strategija u suvremenoj umjetnosti u kontekstu jugoslavenskih ratova
No full textThis research advances a methodological framework for developing predictive models to guide investment strategies in contemporary art across the post-Yugoslav Wars Balkan region. The study examines key determinants of artwork valuation and risk profiles in Bosnia and Herzegovina, Croatia, and Serbia using a mixed-methods approach that synthesizes meta-analysis, expert Q-sort analysis, and hierarchical cluster analysis. The empirical findings demonstrate the enduring influence of the Yugoslav Wars on art market dynamics, underscoring the significance of sustainable intelligence principles and technological innovation in risk mitigation strategies. The analysis identifies critical valuation determinants, including artistic recognition, sociopolitical stability, and cultural significance, while establishing distinct market segments characterized by differentiated risk-reward profiles. The proposed framework incorporates geopolitical risk indicators, artwork and artist attributes, sustainable investing criteria, and technological enablers, emphasizing machine learning algorithms for market forecasting and portfolio optimization. While this framework constitutes a substantial advancement in modelling art investment strategies within post-conflict contexts, limitations persist regarding data availability, model interpretability, and ethical considerations. The study demonstrates the framework\u27s potential to generate value while contributing to cultural heritage preservation and socioeconomic development in the Balkan region, establishing a foundation for subsequent scholarly inquiry into art market analysis within post-conflict societies.Ovo istraživanje unapređuje metodološki okvir za razvoj prediktivnih modela za upravljanje investicijskim strategijama u suvremenoj umjetnosti u postjugoslavenskoj Balkanskoj regiji. U radu se ispituju ključni čimbenici vrednovanja umjetničkih djela i profila rizika u Bosni i Hercegovini, Hrvatskoj i Srbiji koristeći mješoviti metodološki pristup koji kombinira meta-analizu, ekspertni Q-sort analizu i hijerarhijsku klastersku analizu. Empirijski nalazi pokazuju trajni utjecaj ratova na prostoru bivše Jugoslavije na dinamiku tržišta umjetnina, naglašavajući značaj načela održive inteligencije i tehnoloških inovacija u strategijama smanjenja rizika. Analiza identificira ključne čimbenike vrednovanja, uključujući umjetničko priznanje, sociopolitičku stabilnost i kulturni značaj, dok uspostavlja različite tržišne segmente karakterizirane diferenciranim profilima rizika. Predloženi okvir uključuje geopolitičke indikatore rizika, atribute umjetničkih djela i umjetnika, kriterije održivog ulaganja i dostupnost tehnologije, s naglaskom na algoritme strojnog učenja za predviđanje tržišta i optimizaciju portfelja. Iako ovaj okvir predstavlja značajan napredak u modeliranju investicijskih strategija u umjetnosti unutar postkonfliktnih konteksta, postoje ograničenja u pogledu dostupnosti podataka, interpretabilnosti modela i etičkih razmatranja. Istraživanje pokazuje potencijal okvira za generiranje vrijednosti, i doprinosi očuvanju kulturne baštine i socioekonomskom razvoju Balkanske regije, postavljajući temelje za naknadna znanstvena istraživanja analize tržišta umjetnina u postkonfliktnim društvima
The IMF through the lens of Keynesian theory and econometrics: Examples of Ukrainian economic crises in 2008 and 2014
No full textMnogi ekonomski kritičari pripisuju vrlo negativne konotacije MMF-u i njegovoj suradnji s raznim državama putem stand-by programa. Kao primjer takve kritike uzima se rad autora Chletsos i Sinots (2023). Rad hipotezira da su pretpostavke negativnog utjecaja netočne te nastoji prikazati pozitivne posljedice MMF-ovih programa i kondicionalnosti na primjeru ekonomskih kriza u Ukrajini 2008. i 2014. Radi dokazivanja hipoteze, rad se koristi kejnzijanističkom teorijom utemeljenom na djelu „Generalna teorija zaposlenosti, kamate i novca“, kao i nizom kejnzijanističkih modularnih jednadžbi poput: multiplikatora investicija, elastičnosti cijena, agregatnih investicija, troška korisnika i druge. Rad primjenjuje kejnzijanističke ekonometrijske modele prosperiteta za potrošnju i marginalne efektivnosti kapitala. Prvo poglavlje prikazuje niz akademskih kritika upućenih MMF-u dok drugo poglavlje iscrpno predstavlja kejnzijanističku teoriju koja služi kao potpora navedenoj ekonometriji i modularnim jednadžbama. Treće poglavlje prikazuje suradnju MMF-a i Ukrajine tijekom stand-by aranžmana 2008. Ekonometrijom i modularnim jednadžbama dokazuje se pozitivna konotacija MMF-ove kondicionalnosti za: ograničavanje fiskalne potrošnje, restrikciju monetarne politike i antimerkantelističke mjere. U idućem poglavlju rad prikazuje ukrajinsko prihvaćanje MMF-ova programa i njegovu provedbu te rezultate toga. Kejnzijanističkom teorijom, ekonometrijom i modularnim jednadžbama dokazuje se kako su kritike MMF-ovoj kondicionalnosti Chletsosa i Sinotsa (2023) nezasnovane u empiriji. Također se prikazuje da je cijeli program ostavio pozitivne posljedice na ukrajinsku ekonomiju. Drugi dio članka usredotočen je na predstavljanje uzroka ekonomske krize 2014. dok se mjere MMF-ove kondicionalnosti ponovno opravdavaju kejnzijanističkom ekonomskom teorijom i modularnim jednadžbama. Nakon prikazivanja ukrajinske provedbe programa, prikazuje se pozitivan utjecaj MMF-a, objašnjen ekonometrijskim modelima prosperiteta za potrošnju i marginalne efektivnosti kapitala. Kao i u prvom dijelu, sveukupni pregled krize 2014. zaključuje da su MMF-ove mjere bile pozitivne za ukrajinski oporavak, da je kondicionalnost programa bila zasnovana na kejnzijanističkoj teoriji, a da su teze Chletsos i Sinots (2023) netočne.Many economist and academics attribute very negative connotations to the IMF and its stand-by programs. One example is the paper by the authors Chletsos and Sintos (2023). This paper hypothesizes that the assumptions of the negative impact is incorrect and seeks to illuminate the positive consequences of IMF programs and conditionality using the examples of Ukraine\u27s economic crises in 2008 and 2014. To prove this hypothesis, the paper uses Keynesian theory based on the work „The General Theory of Employment, Interest, and Money“, as well as a series of Keynesian modular equations such as: investment multipliers, price elasticity, aggregate investments, user cost, and others. The paper also utilizes Keynesian econometric models for marginal prosperity to consume and marginal efficiency of the capital. The first heading presents a series of academic criticisms directed at the IMF, while the next heading presents Keynesian theory in depth, which serves as the support for the before mentioned econometrics and modular equations. The third heading demonstrates the IMF-Ukraine cooperation during the stand-by arrangement in 2008. Using the previously mentioned econometrics and modular equations, the positive connotation of IMF conditionality is proven in: limiting fiscal spending, restricting monetary policy, and anti-mercantilist measures. In the following heading, the paper shows Ukraine’s acceptance of the IMF program and its implementation, followed by the results. Using Keynesian theory, econometrics, and modular equations, it is proven that the criticisms of IMF conditionality by Chletsos and Sintos (2023) are not supported by empirical evidence. It also shows how the entire program had positive consequences on the Ukrainian economy. The second part of the paper focuses on presenting the causes of the 2014 economic crisis, while the IMF conditionality measures are again justified through Keynesian economic theory and modular equations. After showing Ukraine\u27s implementation of the program, the positive effects of the IMF are demonstrated through econometric models of marginal prosperity to consume and the marginal efficiency of capital. As with the first parto of the paper, the overall review of the 2014 crisis concludes that the IMF measures and conditionality played a postive role for Ukraine’s recovery. The causality of such movement it to be found in the programs close connectivity to Keynesian theory, thus proving thesis of Chletsos and Sintos (2023) to be incorrect
Odgojno-obrazovni programi u zaštićenim područjima Hrvatske – primjeri iz Like
No full textAlthough the protection of nature is the most important task in the protected areas, their scentific, cultural, estethic and educational values are also promoted. Therefore, some educational programs, especially for school children, are organised in many protected areas. In this paper some programs for school children in Lika region are presented: National parks Plitvice lakes and North Velebit, in Nature park Velebit and in Cave park Grabovača (Risovac-Grabovača significant landscape area). In those protected areas, their natural characteristics and values are highlighted through educational programs, with special emphasis on forms of karst relief like caves. They are presented to visitors in order to familiarize with the meaning and protection of certain ecosystems for future generations. The aim of this paper is to analyse educational programs that are implemented in the mentioned protected areas and to point out their importance for school population during education, with an emphasis on programs for pupils of primary classes. Some examples and programs that are organised in these areas like outdoor school, suitable workshops, field work are also presented.Premda je u svim zaštićenim područjima Republike Hrvatske primarna zaštita prirode, promiču se i njezine znanstvene, kulturne, estetske te odgojno-obrazovne vrijednosti. U tu svrhu u zaštićenim područjima organiziraju se odgojno-obrazovni programi namijenjeni prvenstveno školskoj populaciji. U radu su analizirani odgojno-obrazovni programi u zaštićenim područjima na prostoru Like: u Nacionalnim parkovima Plitvička jezera i Sjeverni Velebit, u Parku prirode Velebit i Pećinskom parku Grabovača (Značajni krajobraz Risovac-Grabovača). U navedenim zaštićenim područjima, kroz edukativne programe istaknuta je vrijednost prirodnih osobitosti s posebnim naglaskom na pojedine oblike krškog reljefa, poput špilja, a predstavljaju se posjetiteljima kako bi se upoznali sa značenjem i ulogom očuvanja pojedinih ekosustava. Cilj ovog rada je analizirati odgojno-obrazovne programe koji se provode u zaštićenim područjima i time ukazati na njihovu važnost za školsku populaciju, posebice programe prikladne za učenike u razrednoj nastavi. Izdvojene su i aktivnosti koje se organiziraju u vidu škole u prirodi, terenske nastave, radionica u prirodi i slično
Kozja peć
No full textNakon nekoliko kratkih probnih kampanja kojima je cilj bio utvrditi arheološki potencijal, tijekom 2022. godine započela su sustavna iskopavanja Kozje peći na Dugom otoku. Pećina se nalazi na sredini otoka na visini od oko 200 m nad morem, otprilike kilometar sjeverozapadno od ulaza u radarsku postaju na Veloj straži. Iskopavanja su obavljana u sklopu projekta EpiC Hrvatske zaklade za znanost (IP-2019-04-6115). Ona se trenutačno izvode na prostoru od 20 m2 što bi trebalo biti dovoljno za neometan rad na dubljim slojevima. Iskopavanjem je definirano 12 razina hodnih površina koje pokazuju kulturnu sliku kakvu smo vidjeli u probnoj sondi. Jedino nalaza kasnog srednjeg ili novog vijeka gotovo da i nema, nego se gotovo od početka počinju pojavljivati nalazi s karakteristikama antičkog razdoblja.Systematic excavations of Kozja peć on the island of Dugi otok began in 2022, after several short trial excavation campaigns aimed at determining its archaeological potential. The cave is located in the middle of the island at a height of about 200 meters above sea level, about a kilometer northwest of the entrance to the radar station on Vela straža. The excavations were carried out as part of the EpiC project of the Croatian Science Foundation (IP-2019-04-6115). They are currently carried out in an area of 20 m2, which should be enough for undisturbed work on deeper layers. The excavation defined 12 levels of walking surfaces that show the cultural image recorded in the trench. Only medieval and post-medieval finds are almost completely lacking, but finds with the characteristics of antiquity start to appear almost from the beginning
Archaeological excavations of the Burnum-Amphitheater site
No full textRad donosi preliminarne rezultate arheoloških istraživanja lokaliteta Burnum provedenih tijekom 2022. godine. Kao logični slijed dosadašnjih istraživačkih radnji na amfiteatru i u njegovoj blizini arheološka istraživanja nastavljena su iskopavanjem Sonde 58, koja je dijelom već bila istražena tijekom 2020. godine, sa svrhom prikupljanja relevantnih podataka o kulturnim slojevima nastalim tijekom nivelacije terena i pripremih radova za gradnju amfiteatra i vojnog vježbališta.The paper presents the preliminary results of the archaeological excavations of the Burnum site conducted in 2022. As a logical sequence of previous research activities at the amphitheater and in its vicinity, archaeological research continued with the excavation of Probe 58, which had already been partly explored during 2020, with the purpose of collecting relevant data on the cultural layers created during the leveling of the terrain and preparatory works for the construction of the amphitheater and military training ground