nedelja, 10. februar 2019

MRTVAŠKI PLES- FRESKA- CERKEV SV. TROJICE,. HRASTOVLJE DANCE OF THE DEATH-FRESCOE-CHURCH OF THE HOLY TRINITY-HRASTOVLJE

INFORMACIJE-INFO SLO TRIP:




MRTVAŠKI PLES FRESKA

Pod stenami kraškega roba slovenske Istre, v vasici Hrastovlje stoji majhna kamnita cerkev Sv. Trojice. Že njena zanimiva zunanjost bo pritegnila naš pogled, v notranjosti pa se skrivajo najobsežnejše ohranjene srednjeveške poslikave, na čelu z znamenitim “Mrtvaškim plesom”.
Hrastovlje. Avtocesto “Ljubljana - Koper” zapustimo na izvozu Črni Kal. Nadaljujemo v smeri Sočerge oz. Buzeta, ko zagledamo smerokaz za Hrastovlje pa zavijemo levo in kmalu prispemo v vas, kjer poiščemo primerno parkirišče.

Opis:
Na robu Hrastovelj, med vinogradi in oljkami boste opazili kamnito obzidje iznad katerega “kuka” zvonik cerkve Sv. Trojice. Cerkev je bila zgrajena v 15. stoletju, približno 100 let za tem pa naj bi postavili še obzidje z dvemi obrambnimi stolpi, ki naj bi služilo za obrambo pred Turki. Arhitektura cerkve je zelo zanimiva, kamnite so tako stene kot streha. Sama cerkev je precej majhna, a v notranjosti se bohoti z največjimi in najbolj ohranjenimi stenskimi poslikavami pri nas. Slikar Janez iz Kastva je s svojo ekipo poslikal celotno notranjost (stene, oboke in stropove) ter svoje delo končal leta 1490.

Freske so zemeljskih barv, motivi pa večinoma cerkveni in prikazujejo apostole, Marijino kronanje, svete tri kralje, Kristusov križev pot, stvarjenje sveta, najznamenitejši pa je seveda “Mrtvaški ples”. Gre za sprevod različnih ljudi iz takratne družbe, ki skupaj z okostnjaki korakajo proti smrti. Motiv naj bi izviral iz epidemij kuge in sporoča, da smrt ne izbira med bogatimi in revnimi, mladimi in starimi, niti podkupiti se ne da (če pozorno pogledate, boste videli, da nekdo skeletu ponuja zlatnike).





FRESCOES DANCE OF THE DEATH

The small stone church of the Holy Trinity lies beneath the walls of Karst edge of Slovene Istria in a small village Hrastovlje. Its interesting exterior will already draw your attention and the interior hides the most extensive and best preserved medieval frescoes including the famous 'Dance of the Dead'.


Leave the 'Ljubljana - Koper' motorway on exit Črni Kal. Continue in the direction of Sočerga and Buzet. Keep attention to a signpost for Hrastovlje, turn left and you will arrive to the village soon after.

Description:
On the edge of Hrastovlje, among vineyards and olive trees you will spot a stone wall above which a bell tower of the church of the Holy Trinity peeks. The church was built in the 15th century and the wall with two defence towers (for protection against Turk invaders) were built about 100 years after. The architecture of the church is very interesting - both walls and roof are made of stone. The church itself is quite small, but it boasts with the greatest and best preserved frescoes in Slovenia. The painter 'John of Kastav'  painted the entire interior (walls, arches and ceilings) with his team and completed his work in 1490.

Frescoes are of earthly colors, motifs mainly religious and they show apostles, Coronation of Mary, Three Holy Kings, Stations of the Cross, the creation of Earth but the most famous one is certainly the “Dance of the Dead”. It is a parade of various people from the society, who march together with skeletons towards death. The motif supposedly originates from the epidemics of plague and conveys that death does not choose between the rich and the poor, the young or the old and cannot even be bribed (if you look closely, you will see that someone is offering gold coins to the skeleton).









petek, 08. februar 2019

IVANA KOBILICA 1861-1926 NAJBOLJ ZNANA SLOVENSKA UMETNICA-THE MOST FAMOUS SLOVENIAN ARTIST OF ALL TIME

VIRI:INFO :NARODNA GALERIJA SLOVENIJE-NATIONAL GALLERY OF SLOVENIJA




IVANA KOBILICA (1861-1926)

Ivana Kobilca se je slikarsko oblikovala v zadnjih dveh desetletjih 19. stoletja, ko je postal realizem v Evropi sprejemljiv za rastoči srednji sloj, ki je prek politike in ideologije obvladoval celotno umetnostno dogajanje. Večino odraslega življenja je preživela v tujih velemestih: po Dunaju je študirala v Münchnu in živela še v Parizu, v Sarajevu in v Berlinu, od koder se je v Ljubljano vrnila šele ob začetku prve svetovne vojne. Ključna študijska leta je preživela v bavarski prestolnici, kjer se je od temnega ateljejskega realizma obrnila k svetlejšim francoskim zgledom. V burnem pariškem in skoraj idiličnem sarajevskem času se je posvečala tudi slikanju na prostem, v Berlinu in v Ljubljani pa predvsem cvetličnim tihožitjem.

Ivana Kobilca se je v šestinštirideset let dolgem ustvarjanju zgledovala po največjih evropskih naturalistih in simbolistih. Bila je pridružena članica Salona francoske Société nationale des beaux-arts in trikrat uvrščena na njeno razstavo. Razstavljala je po celotni Evropi, med drugim s Ferdom Veselom kot prva Slovenka na beneškem bienalu. Kot edina Slovenka je redno in od blizu spremljala razstave treh glavnih secesij (na Dunaju, v Münchnu in v Berlinu). Dobivala je prestižna naročila za cerkveno in za posvetno oblast, doma in v Bosni, kot mojstrici socialnih stikov pa ji je uspelo portretirati ljudi vseh slojev in starosti: od berlinskih milijonarjev, politikov, meščank in otrok do gorenjskih vaških posebnežev.




IVANA KOBILICA (1861-1926)

The formation of Ivana Kobilca as a painter took place in the last two decades of the 19th century, when realism in Europe became acceptable for the growing middle class which, through politics and ideology, controlled the entire art production. She spent most of her adult life in foreign capitals: after Vienna she studied in Munich, lived in Paris, Sarajevo and Berlin, from where she returned to Ljubljana only at the onset of the First World War. During her turbulent stay in Paris and the almost idyllic years in Sarajevo, she also painted outdoors, and later in Berlin and Ljubljana dedicated herself to still lifes.

In the fourty-six years of her creative life Ivana Kobilca worked in world art centres where she modelled her idiom on the greatest European naturalistic and symbolists painters. She was associate member of the French Société nationale des beaux-arts and was presented at their Salon three times. She exhibited all over Europe and was the only Slovenian artist to follow regularly and directly the exhibitions of three principal Secessions (Vienna, Munich, Berlin). She carried out prestigious commissions for Church and secular authorities in her homeland and in Bosnia, and, being skilled in establishing social contacts, she managed to portray people from all social strata and of all ages -- from Berlin millionaires, politicians, middle-class ladies and children to original rustic characters from Upper Carniola.