Literarno tumačenje likovnog dela - primeri iz metodologije Srpske istorije umetnosti prve polovine 20. veka

Abstract

U radu se prepoznaju i klasifikuju primeri (ostataka) literarnog tumačenja umetnosti u okvirima novoformirane istorije umetnosti kao nauke. Razmatra se zašto svaki naučnik koji uvodi novi metod ove nauke istovremeno nastavlja da tumači likovna dela i literarnim sredstvima, koja je metodološka vrednost tih sredstava i zašto ih treba negovati u istoriji umetnosti kao humanističkoj disciplini.

The paper detects and classifies the examples (remnants) of literary interpretation of art within the scope of newly established history of art as a branch of science. The paper explores the reasons why each scientist who introduces this new method simultaneously continues to interpret paintings by employing literary approaches. The paper also explores the methodological values of the approaches and why they are to be further cultivated in the art history as a discipline of the humanities. Over a longer period of time, a certain course of development of the approach toward such literary endevours is to be observed (it is quite evident that they bear no literary value, whatsoever). In the beginning, art history is considered to be a literary branch of its own kind, whereas literary fiction serves as an argument and scientific presentations are treated as an act of writing a quality essay. Consequently, scientific passages in the text of art historians are separated from the literary ones which are reduced to smaller passages, constituting themselves as a framework of a text or a supplement, yielding no data or solutions. Alongside with the ongoing trend, it turned out that the poor quality features of literary interpretation (ambiguities, fine talk, phrasing, simplification of scientific topic and its popularization up to a point of becoming banal) open up a space to all those who are not competent enough to interpret art and, thus, jeopardize the integrity of art history. Thereof, there arose the opportunity: either to be an essayist or an expert and scientist. In the next stage, literary approach gained its place within the methodology of art history, as a method of its own value, which serves to express scientific assumptions and draft out the potential hypothesis, to detect the problem or indicate novel approaches toward certain phenomena, to concisely demonstrate the results (at those points for which there is no need to further elaborate or provide additional results) or it was treated as a creative formulation.