| Abstract | Drvena slikana raspela koja su izvorno bila učestali dio inventara dalmatinskih crkava, svjedoče o važnosti i raširenosti štovanja kulta križa, odnosno Kristove muke, smrti i uskrsnuća, a istovremeno ukazuju na slijed razvoja ideoloških i dogmatskih stavova unutar Crkve. Uz slikane poliptihe, predstavljaju jednu od najzastupljenijih tipoloških grupa dalmatinskog srednjovjekovnog slikarstva. Unatoč malom broju, sačuvana dalmatinska slikana raspela 13. i 14. stoljeća pružaju uvid u razvoj ikonografskog programa i likovnog oblikovanja tijekom dva stoljeća. Iz romaničkog razdoblja u Zadru su sačuvana dva reljefna slikana raspela, iz samostana Sv. Frane i crkve Sv. Mihovila, dok je treće, koje se nekada nalazilo u crkvi Sv. Marije u Zadru, uništeno u Drugom svjetskom ratu. Nešto južnije, u Splitu, u crkvama Sv. Križa i Sv. Duha, sačuvana su dva romanička slikana raspela u vrlo lošem stanju, a u samostanskoj crkvi Sv. Klare važno raspelo s kraja 13. stoljeća. Usvajanje novog, gotičkog likovnog senzibiliteta u pojedinim je elementima primjetno već na raspelu iz crkve Sv. Andrije na Čiovu iz prve četvrtine 14. stoljeća, ali je u potpunosti realizirano tek u djelima Paola Veneziana i njegova kruga, koja su obilježila dalmatinsko slikarstvo 14. stoljeća. Iz tog perioda potječu četiri raspela i jedna kompozicija Raspeća te ulomak Sv. Ivana iz danas izgubljene kompozicije Raspeća. Riječ je o raspelu u Zbirci benediktinskog samostana Sv. Nikole u Trogiru i raspelu u Župnoj crkvi Uznesenja Blažene Djevice Marije u Slatinama na Čiovu atribuiranima Paolu Venezianu, zatim Raspeću u crkvi Sv. Dominika u Dubrovniku istoga slikara i liku Sv. Ivana iz kompozicije Raspeća atribuiranom radionici Paola Veneziana te raspelu nepoznatog slikara iz Župne crkve Gospe od ružarija u Segetu kraj Trogira i Catarinovu raspelu iz crkve Sv. Dominika u Zadru. |
| Abstract (english) | Painted wooden crucifixes, which were originally a frequent part of the inventory of Dalmatian churches, bear witness to the importance and widespread worship of the cult of the Cross, i.e. Christ's passion, death and resurrection At the same time, they indicate the sequence of development of ideological and dogmatic attitudes within the Church. Alongside the painted polyptychs, they showcase one of the most represented typological groups of Dalmatian medieval painting. Despite the small number of the crucifixes preserved, Dalmatian painted crucifixes of the 13th and 14th centuries provide an insight into the development of the iconographic program and artistic design over the two centuries. From the Romanesque period, two relief painted crucifixes have been preserved in Zadar, from the monastery of St. Francis and the Church of St. Michael. The third one, which used to be in the church of St. Mary in Zadar, was destroyed in the Second World War. Further south, in Split, two Romanesque painted crucifixes have been preserved in the churches of St. Cross and of the Holy Spirit, however in bad condition. In addition, an important Romanesque painted crucifix from the end of the 13th century has been preserved in the Church and monastery of St. Clare in Split. The adoption of a new, Gothic artistic sensibility in some elements is already noticeable on the crucifix from the Church of St. Andrew in Čiovo from the first quarter of the 14th century. However, Gothic aesthetic was fully expressed in the works of Paolo Veneziano and his circle, which characterized Dalmatian painting of the 14th century. Four crucifixes, one Crucifixion, and a fragment of St. John, from the now lost Crucifixion, have originated from that period. It concerns a crucifix in the Collection of the Benedictine Monastery of St. Nicholas in Trogir, and the Crucifixion in the Parish Church of the Assumption of the Blessed Virgin Mary in Slatine (Čiovo) attributed to Paolo Veneziano; furthermore, the Crucifixion in the Church of St. Dominic in Dubrovnik by the same painter and the image of St. John from the composition of the Crucifixion attributed to Paolo Veneziano's workshop, and the crucifixion of an unknown painter from the Parish Church of Our Lady of the Rosary in Seget, near Trogir, and Catarino's crucifixion from the Church of St. Dominic in Zadar. |
