diplomsko delo
Vesna Filipič (Avtor), Janez Balažic (Mentor)

Povzetek

Sakralna arhitektura 20. stoletja je doživela velike arhitekturne spremembe. Po Drugem vatikanskem koncilu so v liturgičen prostor vstopile moderne umetniške prakse, ki pa so se do neke mere podredile prostoru, naročniku in uporabniku. Arhitekt in umetnik sta v skupnem delu vsak na svoj način ohranjala svojo izraznost in le-to prilagodila specifični namembnosti. Arhitektura je postajala vedno bolj minimalistična, kar je dovoljevala uporaba novih materialov, umetniški okras pa se je povezal z arhitekturo in tako skupaj tvorita "celostno umetnino". V diplomskem delu na primeru idrijske župnijske cerkve sv. Jožefa delavca in sv. Barbare predstavljam delo arhitekta Antona Bitenca in slikarja Staneta Kregarja, njuno povezovanje in ustvarjanje arhitekturne celote. Centralno usmerjena arhitektura Bitenca, se s svojo zunanjostjo dodobra povezuje z ostalimi objekti, ki so zasnovani v njeni bližini, Kregar pa jo presvetli z vitraji, ki so eden poglavitnih medijev njegovega sakralnega umetniškega udejstvovanja. Tudi ves ostali umetniški okras je delo umetnika Staneta Kregarja, ki se v svojem izrazu pri upodabljanju oseb opira na bizantinske in romanske slogovne značilnosti oziroma se vrača v barvni realizem, ki mu najbolj dovoljuje ostati zvest svojemu načinu ustvarjanja. Župnijska cerkev je bila posvečena 1. maja 1969. Tako je mesto Idrija dobilo dovolj velik cerkveni prostor, saj je bila prejšnja župnijska cerkev podrta med bombnim napadom na mesto leta 1945. Mnogo cerkvenih objektov v samem mestu nakazuje na močno krščansko prisotnost, saj so rudarji v želji na varno vrnitev iz rovov molili k različnim svetnikom. Prav tako pa so ti skozi mnogo let bili edini stik z umetnostjo, ki so ga imeli takratni prebivalci.

Ključne besede

sakralna arhitektura;drugi vatikanski koncil;arhitekt Anton Bitenc;slikar Stane Kregar;vitraj;diplomska dela;

Podatki

Jezik: Slovenski jezik
Leto izida:
Tipologija: 2.11 - Diplomsko delo
Organizacija: UM PEF - Pedagoška fakulteta
Založnik: [V. Filipič]
UDK: 726:27-523.6(497.4)(043.2)
COBISS: 21502472 Povezava se bo odprla v novem oknu
Št. ogledov: 2769
Št. prenosov: 214
Ocena: 0 (0 glasov)
Metapodatki: JSON JSON-RDF JSON-LD TURTLE N-TRIPLES XML RDFA MICRODATA DC-XML DC-RDF RDF

Ostali podatki

Sekundarni jezik: Angleški jezik
Sekundarni naslov: PARISH CHURCH OF ST. JOSEPH AND ST. BARBARA IN IDRIJA
Sekundarni povzetek: Sacred architecture of the 20th century has undergone great architectural changes. After the Second Vatican Council modern art forms entered the liturgical space, though to a certain extent adapted to accommodate the place, client, and the user. The architect and the artist both in their own way kept their expressiveness and adapted it to the specific purpose. Architecture was becoming more and more minimalistic, which was made possible by the use of new materials, and the artistic decor was intertwined with architecture, thus forming a comprehensive artwork. This dissertation studying the Idrija parish church of Sv. Jožef Delavec and Sveta Barbara (St Joseph the Worker and St. Barbara) presents the work of architect Anton Bitenc and painter Stane Kregar, their cooperation and creation of an architectural whole. With its exterior the centrally-oriented architecture of Bitenc fits in well with other objects designed in its vicinity, while Kregar illuminates it with his stained glass, which is one of the primary media for his sacred art involvement. The rest of the art decor is also the work of Stane Kregar, who, in his manner of portraying people leans on Byzantine and Roman stylistic characteristics or returns back to the colour realism which allows him most to stay loyal to his art form. The parish church was consecrated 1st May 1969. With it the town of Idrija got a church large enough, after the previous parish church was destroyed during a bomb raid of the town in 1945. The large number of sacred objects in the town shows a strong Christian presence. The miners, in the desire for safe return from the mine shafts prayed to different saints. Also, these objects have, for many years, been the only contact of the townspeople with art.
Sekundarne ključne besede: fine art appreciation;fine art evaluation;artistic creativity;perception;reception;reproduction of works of art;theses;Univerzitetna in visokošolska dela;
URN: URN:SI:UM:
Vrsta dela (COBISS): Diplomsko delo
Komentar na gradivo: Univ. v Mariboru, Pedagoška fak., Oddelek za likovno umetnost
Strani: 72 f.
ID: 8756558