Позлаћено доба и репрезентација владара : Луј XIV и Тито у Версају

Abstract

Године 1956. југословенски председник Јосип Броз Тито је посетио Париз. Том приликом је спроведен кроз дворац Версај, некадашњи центар француске апсолутистичке монархије. Камера фото-апарата је, између осталог, забележила моменат када се Тито нашао пред рељефним коњаничким портретом Луја XIV, дело Антоана Коизвоа из 1681. године. Стратегије пропаганде које су несумњиво условиле изрежирани кадар, условиле су разматрање о структуралним основама апсолутистичке власти оба суверена. Фотографија схваћена као студија случаја, и визуелни пример идеолошке пропаганде, материјализовала је процес визуелног креирања имагинације о (по)злаћеном добу као особеном периоду у политичком и културном хабитусу југословенског суверена и његове државе.

In 1956, Yugoslav president Josip Broz Tito visited Paris. On that occasion, he was escorted through the Palace of Versailles, the former centre of the French absolutist monarchy. The camera recorded, among other things, the moment when Tito found himself in front of the relief with the equestrian portrait of Louis XIV, the work of Antoine Coysevox from 1681. At the time of the establishment of Josip Broz Tito’s personal rule and Yugoslavia’s balancing between opposing ideological blocs, the photo from Versailles confirmed the formation of a stable socialist sovereign. The scene was undoubtedly staged by propaganda strategy that conditioned the consideration of the structural foundations of the absolutist rule. The contact between the two rulers, the absolutist sovereign, on the one hand, and the informal Yugoslav monarch, on the other hand, made it possible to consider the framework of the visual representation of the two rulers. Finding a parallel between the two rulers, in seemingly dif­ferent political systems, confirmed Tito’s structural decadence. Appearance, suit, attitude, as well as several other manifestations of sophisticated taste, confirmed the congruence of the two rulers. Within the timeless and ceremonial power, Louis XIV and Tito are defined as the mirror and reflection of unlimited power. The photography, considered a case study of ideological propaganda, materialized the process of creating an imagination about the gilded age in the political and cultural habitus of the Yugoslav sovereign and his state. The ancient (antique) political concept of the golden age and the modern, social, and cultural concept of the gilded age are intertwined in the silent dialogue of the two rulers in Versailles. The ideological construction of the age of happiness and grace is recreated in Tito’s political body having its reflection in the relief of the most powerful baroque ruler. Therefore, the studied photograph represents a visual tribute to the resemblance of the two rulers in the baroque space of power, where the stagy performance of the two rulers sublimates the concept of absolute and unlimited power.