Слика жене у рату у стваралаштву Ђорђа Крстића

Abstract

Мотив жене у рату у сликарству Ђорђа Крстића јавља се већ током његових студија у Минхену средином седме деценије XIX века када настају цртежи Херцеговка на стражи, Црногорка на стражи и припремне скице за слику Утопљеница. Настанак ових дела поклапа се са избијањем Херцеговачког, а затим и Босанског устанка 1875. који ће прерасти у ратни сукоб Србије и Црне Горе против Османског царства (1876‒1878). У раду се анализирају ова Крстићева дела у светлу тадашњих историјских дешавања, учешћа жена у поменутим устанцима и њиховим приказима у штампи и рукописима европских путописаца. Мотив жене која у тешким и нестабил- ним временима преузима активну улогу и суделује у ратним сукобима као једнака са мушкарцима анализираће се и на приказу Јелице, супруге Тодо- ра од Сталаћа, која на Крстићевој слици Пад Сталаћа, насталој 1895‒1899. године, заједно са мужем учествује у одбрани куле и борби против турских освајача.

The turbulent times that gripped the Serbian people in the second half of the 19th century, during the Herzegovina Uprising and Serbian-Turkish war, left their mark on the work of local artists, including the work of Đorđe Krstić. Sensitive to the suffering of innocent civilians, inspired by the struggle for liberation from foreign rule and encouraged by patriotic literature, the artist gave his answer to the current war conflicts, creating, as a student, the capital work The Drowning Maiden. The idea behind this painting was the beginning of the artist’s reflection on the place and role of women in war, a motif that he would repeat several times, with theme variations, but not the messages he wanted to convey. Starting with the depiction of the victim, Krstić soon offered an alternative image of a woman in war who, although close to the European imagination of the Orientalist Balkans, is not really that far from the truth. Krstić’s Herzegovinian and Montenegrian maiden on guard, armed like any other soldier, really existed, and some war heroines from this period were well known to the public at the time. In many of Krstić’s paintings, it is possible to notice the influence of Symbolism, an artistic movement that was present at the end of the 19th century in most European cultural centers to which Munich also belonged. Using current or historical events, legends, fairy tales, and poetry, the Symbolists portrayed sublime ideas, visions, or feelings. The basic idea behind all Krstić’s paintings of women in war is honor. In the painting The Fall of Stalać, as well as The Drowning Maiden, Herzegovinian Maiden on Guard and Montenegrian Maiden on Guard, Krstić remains true to the idea that Serbian women, like all Serbian soldiers, are more willing to give up their life than freedom and honor. Heroism distinguishes all these people, in the past, as well as present, and it is in the hearts of its men as much as women. Regardless of whether the paintings show a noblewoman, a peasant, a mother, a victim or a warrior, Đorđe Krstić always presents women in the war as heroines.