Белинијева Богородица са Христом дететом у Доброти
Bellini’s Mother of God with Infant Christ in Dobrota
2007
Чланак у часопису (Објављена верзија)
,
Филозофски факултет Универзитета у Београду. Институт за историју уметности
Метаподаци
Приказ свих података о документуАпстракт
In the parochial church of Saint Matthew in Dobrota,
there is a preserved painting by Giovanni Bellini and his
workshop, he Mother of God with the Infant Christ. In the
iconographic sense it is customary: a bust of Mary with
the little Christ in her arms, a parapet in the foreground,
green drapery and a landscape in the background. he
motif of the parapet indicates the separation of the holy
igures from the earthly world. However, this border is
not strong: the emotional closeness between the Mother
and the Child is transferred into the everyday world
of mortals. he parapet is also an association with the
Holy Altar. It expresses the Eucharistic, sacramental role
of Christ and the Mother of God. he idea about the
Mother as the tabernacle of God is underscored by the
motif of the curtain. he landscape in the background
makes the painting especially valuable. he sotness and
transparency that characterise it point to a possibility
that Bellini created this painting at the... end of the XV
or the beginning of the XVI century, at the time when
he was under the inluence of the Arcadian circle from
Asolo. he landscape on the painting is paysage moralisé,
because all the elements - the tower, the garden, the
spring, goats, swans - are clearly symbols of the Mother
of God. his altar painting, purchased by an unknown
native of the Boka Kotorska Bay, and brought back to his
birthplace, proves that the spirit of the renaissance also
touched the southeastern coast of the Adriatic.
На слици Богородицe са Христом дететом Ђованија
Белинија у жупној цркви Светог Матеја у Доброти
неразлучиво се исказују иконографска и ликовна
слојевитост. Нарочито је истакнут литургијски
и сакраментални значај светих ликова, у који
су уткани и архитектонско-пејзажни елементи
слике. Мекота и прозрачност пејзажа указују на
утицај аркадијског поетског круга који је прожео
венецијанску уметност почетком XVI века.
Извор:
Зограф: часопис за средњовековну уметност, 2007, 31, 215-218Издавач:
- Филозофски факултет Универзитета у Београду. Институт за историју уметности
Институција/група
Istorija umetnosti / History of ArtTY - JOUR AU - Брајовић, Саша PY - 2007 UR - http://reff.f.bg.ac.rs/handle/123456789/4427 AB - In the parochial church of Saint Matthew in Dobrota, there is a preserved painting by Giovanni Bellini and his workshop, he Mother of God with the Infant Christ. In the iconographic sense it is customary: a bust of Mary with the little Christ in her arms, a parapet in the foreground, green drapery and a landscape in the background. he motif of the parapet indicates the separation of the holy igures from the earthly world. However, this border is not strong: the emotional closeness between the Mother and the Child is transferred into the everyday world of mortals. he parapet is also an association with the Holy Altar. It expresses the Eucharistic, sacramental role of Christ and the Mother of God. he idea about the Mother as the tabernacle of God is underscored by the motif of the curtain. he landscape in the background makes the painting especially valuable. he sotness and transparency that characterise it point to a possibility that Bellini created this painting at the end of the XV or the beginning of the XVI century, at the time when he was under the inluence of the Arcadian circle from Asolo. he landscape on the painting is paysage moralisé, because all the elements - the tower, the garden, the spring, goats, swans - are clearly symbols of the Mother of God. his altar painting, purchased by an unknown native of the Boka Kotorska Bay, and brought back to his birthplace, proves that the spirit of the renaissance also touched the southeastern coast of the Adriatic. AB - На слици Богородицe са Христом дететом Ђованија Белинија у жупној цркви Светог Матеја у Доброти неразлучиво се исказују иконографска и ликовна слојевитост. Нарочито је истакнут литургијски и сакраментални значај светих ликова, у који су уткани и архитектонско-пејзажни елементи слике. Мекота и прозрачност пејзажа указују на утицај аркадијског поетског круга који је прожео венецијанску уметност почетком XVI века. PB - Филозофски факултет Универзитета у Београду. Институт за историју уметности T2 - Зограф: часопис за средњовековну уметност T1 - Белинијева Богородица са Христом дететом у Доброти T1 - Bellini’s Mother of God with Infant Christ in Dobrota EP - 218 SP - 215 VL - 31 UR - https://hdl.handle.net/21.15107/rcub_reff_4427 ER -
@article{ author = "Брајовић, Саша", year = "2007", abstract = "In the parochial church of Saint Matthew in Dobrota, there is a preserved painting by Giovanni Bellini and his workshop, he Mother of God with the Infant Christ. In the iconographic sense it is customary: a bust of Mary with the little Christ in her arms, a parapet in the foreground, green drapery and a landscape in the background. he motif of the parapet indicates the separation of the holy igures from the earthly world. However, this border is not strong: the emotional closeness between the Mother and the Child is transferred into the everyday world of mortals. he parapet is also an association with the Holy Altar. It expresses the Eucharistic, sacramental role of Christ and the Mother of God. he idea about the Mother as the tabernacle of God is underscored by the motif of the curtain. he landscape in the background makes the painting especially valuable. he sotness and transparency that characterise it point to a possibility that Bellini created this painting at the end of the XV or the beginning of the XVI century, at the time when he was under the inluence of the Arcadian circle from Asolo. he landscape on the painting is paysage moralisé, because all the elements - the tower, the garden, the spring, goats, swans - are clearly symbols of the Mother of God. his altar painting, purchased by an unknown native of the Boka Kotorska Bay, and brought back to his birthplace, proves that the spirit of the renaissance also touched the southeastern coast of the Adriatic., На слици Богородицe са Христом дететом Ђованија Белинија у жупној цркви Светог Матеја у Доброти неразлучиво се исказују иконографска и ликовна слојевитост. Нарочито је истакнут литургијски и сакраментални значај светих ликова, у који су уткани и архитектонско-пејзажни елементи слике. Мекота и прозрачност пејзажа указују на утицај аркадијског поетског круга који је прожео венецијанску уметност почетком XVI века.", publisher = "Филозофски факултет Универзитета у Београду. Институт за историју уметности", journal = "Зограф: часопис за средњовековну уметност", title = "Белинијева Богородица са Христом дететом у Доброти, Bellini’s Mother of God with Infant Christ in Dobrota", pages = "218-215", volume = "31", url = "https://hdl.handle.net/21.15107/rcub_reff_4427" }
Брајовић, С.. (2007). Белинијева Богородица са Христом дететом у Доброти. in Зограф: часопис за средњовековну уметност Филозофски факултет Универзитета у Београду. Институт за историју уметности., 31, 215-218. https://hdl.handle.net/21.15107/rcub_reff_4427
Брајовић С. Белинијева Богородица са Христом дететом у Доброти. in Зограф: часопис за средњовековну уметност. 2007;31:215-218. https://hdl.handle.net/21.15107/rcub_reff_4427 .
Брајовић, Саша, "Белинијева Богородица са Христом дететом у Доброти" in Зограф: часопис за средњовековну уметност, 31 (2007):215-218, https://hdl.handle.net/21.15107/rcub_reff_4427 .