Slovensko kiparstvo 30. let 20. stoletja

pokopališka plastika na ljubljanskih Žalah

Povzetek

Magistrska naloga obravnava pokopališko plastiko, ki je v 30. letih 20. stoletja nastala za osrednje ljubljansko pokopališče Žale. Na razcvet nagrobne plastike je vplivala rast ljubljanskega meščanstva, ki je bilo kulturno zavedno in je skulpture za grobove svojih družin naročalo pri domačih akademskih kiparjih. Največ nagrobne plastike, v 30. letih 20. stoletja postavljene na Žale, je delo kiparjev Ivana Zajca, Lojzeta Dolinarja, Franceta in Toneta Kralja, Tineta Kosa, Franceta Goršeta, Petra Lobode, Nikolaja Pirnata, Borisa Kalina, Frančiška Smerduja, Zdenka Kalina in Karla Putriha. Med njimi je daleč največ plastik izvedel zagrebški študent Boris Kalin, ki je bil po vrnitvi iz Zagreba zaposlen pri ljubljanskem kamnoseštvu Kunovar. Na končni izgled posamezne nagrobne plastike so najbolj vplivali: pokopališke skulpture v neposredni bližini, finančne sposobnosti naročnika ter splošen okus časa in kraja. Glavne spremembe, ki jih je nagrobna plastika v obravnavanem obdobju doživela, so: zaton klasičnih nagrobnih simbolov, figura, formalno-vsebinsko neodvisna od prostora pokopa, manj izraza čustev, porast katoliških tem, priljubljenost motiva Marije z Detetom ter ženske z otrokom, odmik od historizma ter uporaba voluminoznejših, oblih form, na katere so v glavenm vplivali zagrebški profesorji in francoski kiparji. Med drugimi središči v našem kulturnem prostoru z enotnim načinom pokopavanja je nagrobna plastika iz 30. let 20. stoletja slovenski najbolj podobna v Zagrebu, kjer je na pokopališču Mirogoj moč najti številna dela kiparjev, ki so bili na likovni akademiji v Zagrebu profesorji slovenskih študentov kiparstva.

Ključne besede

umetnostna zgodovina;kiparstvo;nagrobna plastika;Žale;Ljubljana;magistrska dela;

Podatki

Jezik:	Slovenski jezik
Leto izida:	2022
Tipologija:	2.09 - Magistrsko delo
Organizacija:	UL FF - Filozofska fakulteta
Založnik:	[L. Cotič]
UDK:	73(497.4)"193"(043.2)
COBISS:	109919491
Št. ogledov:	97
Št. prenosov:	30
Ocena:	0 (0 glasov)
Metapodatki:

Ostali podatki

Sekundarni jezik:	Angleški jezik
Sekundarni naslov:	Funerary sculpture of the 1930s in the central cemetery of Ljubljana Žale
Sekundarni povzetek:	This master's thesis deals with the funerary sculpture created in the 1930s for Žale, the central cemetery in Ljubljana. The flourishing of funerary sculpture can be linked to the growth of the culturally conscious bourgeoisie in Ljubljana that commissioned local sculptors to make the sculptures for the graves of its families. Most of the funerary sculptures that were erected in Žale in the 1930s were the work of sculptors including Ivan Zajec, Lojze Dolinar, France and Tone Kralj, Tine Kos, France Gorše, Peter Loboda, Nikolaj Pirnat, Boris Kalin, Frančišek Smerdu, Zdenko Kalin and Karl Putrih. However, it was Boris Kalin who produced the largest number of sculptures by far. This is mostly because he had been working for the Kunovar stonemasonry after returning from Zagreb, where he studied at their Academy of Fine Arts. The form and content of the individual funerary sculpture were influenced by the funerary sculptures in the immediate vicinity, the financial capacity of the patrons, and the general tastes of the time and place in question. The main changes that funerary sculpture underwent during this period are a declining usage of classical tomb symbols, sculpture becoming formally independent of the burial space, less expression of emotion, the rise of Catholic themes, the popularity of the motives of Mary with child and woman with child, a departure from historicism and the use of more voluminous, rounded forms, all of which was predominantly inspired by the professors at the academy in Zagreb and, additionally, by French sculptors. Comparing the funerary sculpture in Žale to the ones in other larger cemeteries of the neighboring countries, one finds that the Slovene production is closest to the one in Zagreb in both form and content. The reason for that is the fact that the sculptors that were professors of the Slovene students at the Academy of Fine Arts in Zagreb were also often commissioned to produce funerary sculptures for the Mirogoj cemetery.
Sekundarne ključne besede:	art history;sculpture;funerary sculpture;Žale;Slovenia;
Vrsta dela (COBISS):	Magistrsko delo/naloga
Študijski program:	1011047
Konec prepovedi (OpenAIRE):	1970-01-01
Komentar na gradivo:	Univ. v Ljubljani, Filozofska fak., Oddelek za umetnostno zgodovino
Strani:	295 str.
ID:	15437243