Слика о песми и песма о слици : Херцеговачко гробље Јарослава Чермака и Николе I Петровића Његоша

Abstract

У првом делу рада се предочава део оријенталистичког опуса сликара Јарослава Чермака проистеклог из његовог боравка у Црној Гори 1862. године. Представљају се оцене и углед његових слика, идејно зачетих у припремним цртежима започетих на Цетињу, у делу тадашње европске штампе која је прославила нарочито Рањеног Црногорца. У другом делу рада пажња је посвећена Херцеговачком робљу – Чермаковој слици и песми књаза и краља Николе Петровића Његоша. Комплементарне по теми и готово истовремене, слика и песма изражавају антички принцип ut pictura poesis. Заједно подстичу креирање tableau vivant-а – оживљеног сведочанства које је изразило оновремену естетику, идеологију и функцију живих слика.

Jaroslav Čermák (1830–1878), a Czech and French representative of academic realism, gained a reputation for his paintings depicting themes from the Balkans. At the time of the great popularity of Orientalism, carried by Slavic sentiment and wishing to reach the characteristic quality, he came to Cetinje in 1862 at the invitation of the Montenegrin prince Nikola I Petrović Njegoš. Čermák became an eyewitness and participant in the battles of the Montenegrin-Turkish War, which made his style more authentic and more heroic. His picture The Wounded Montenegrin was especially celebrated in European newspapers and illustrated magazines, mostly in Serbia and Croatia. The painting The Spoils of War, better known as The Herzegovinian Slaves from 1868, also enjoyed a great reputation. Observing the derivative of this painting, probably made in oleography, Nicholas I wrote the song of the same name. It describes the captured girls, also shown in Čermák’s painting. That is why the prince’s song can be considered an ekphrasis. However, some sources say it was the other way around – the song is not a description of the picture but preceded it. Together, they started performing tableau vivant, one of the eight living pictures shown in the Blue Palace in Cetinje in 1911. This complex multimedia performance, composed of pictures in which costumed protagonists stood motionless, verses, singing, and making music, addressed the spiritual, intellectual, and emotional potential of the observer. Tableau vivant The Herzegovinian Slaves, which staged Čermák’s painting while reciting the poem of the same name by Nicholas I, indicates the complementarity of the image and the poem. This compliance is best confirmed by themselves. Following Horace’s legacy ut pictura poesis, they permeated and rounded each other. Together, in the spirit of the national aspirations of the Slavic peoples, as well as aesthetic and theatrical principles of the late 19th and early 20th centuries, they created a living “Serbian icon”, as it was called in the newspaper The Voice of a Montenegrin.