Izgled Srebrenice u Dubrovačkim izvorima
Текст преузет из књиге: Десанка Ковачевић-Којић, Градски живот у Србији и Босни (XIV-XV), (стр 204-218), Историјски институт Београд, Београд 2007.)
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Текст преузет из књиге: Десанка Ковачевић-Којић, Градски живот у Србији и Босни (XIV-XV), (стр 204-218), Историјски институт Београд, Београд 2007.)
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Crkveno graditeljstvo u srednjevjekovnoj Bosni i Hercegovini razvijalo se u skladu s razvojem crkvene arhitekture u tadašnjoj Europi - istina sa izvjesnim stilskim zakašnjenjima i u modificiranom obliku. Međutim, bosansku crkvenu arhitekturu od ostalih sličnih građevina podizanih u srednjevjekovnoj Europi ono što bitno odvaja jeste činjenica da "bosanske crkve nikada nisu postale objekti na kojima bi srednjevjekovni čovjek najsnažnije ispoljavao svoja umjetnička stremljenja".1 Ovo sjajno zapažanje Pavo Anđelić objašnjava ne nedostatkom kreativnih potencijala (oni su, uostalom, dosegli vrhunce u nekim drugim formama umjetničkog izražavanja) već činjenicom da je to vrijeme u kojem religija nije bila "glavni pokretač aktivnosti bosanskog čovjeka". Monumentalne crkvene građevine po svijetu bile su djelo iznimno moćnih vladara ili zajednica što se u Bosni osjeća tek u 15. st. kada dolazi i do primjetnijeg jačanja crkvenih organizacija.
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Commissioned by rich merchant, Jodocus Vyd and his wife for their private chapel in the Saint Bavo Cathedral (at the time parochial church of John the Baptist), Ghent altarpiece represents one of the largest and most complex polyptychs of the time. It was done by two famous brothers, the greatest artists of the period, Hubert and Jan van Eyck between 1430 and 1432. Although the attribution is not known for sure, most scholars today accept that outer side of the altar was done by Jan van Eyck. It’s impossible to make analysis of whole iconographic program of the altar because of its complexity, so this research treats only outer panels, especially the Annunciation scene. At first glance represented commonly and simply, just after careful observation scene reveals its symbolical meanings, hidden in different objects and aspects which Jan van Eyck applied unobtrusively. By interpreting and analyzing these symbols, paper aims to discover meaning of the Annunciation scene within elaborate and complex altar program. Furthermore, we want to point out certain historical events of the time, that have precede production of the altarpiece, and which maybe had some influence on shaping the iconography of the outer panels. In doing so we will also be able to resolve problem of the authorship over the altar.
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Le sujet, dont on parlera, traite des portails des églises de la Serbie de la Morava, où ont eu lieu de grandes entreprises de l’architecture tardive byzantine. Les portails diffèrent selon leur situation ou leur fonction dans le cadre de la liturgie, les dimensions, la taille des pierres et la décoration.Au sujet du programme bien conçu de la peinture, auquel appartiennent les présentations des fondateurs, des moines hésychastes fameux et des saints guerriers, l’hypothèse bien fondée se pose : les portails dans l’église byzantine tardive représentent l’interprétation et la modification de l’ancienne métaphore biblique du Christ « Je suis la porte. Qui entre par moi, sera sauvé ». La décoration dans le tympan des portails, en parallèle avec les présentations des fondateurs et des moines, créent ainsi un code visuel sans égal, un espace où se réunissent des significations multiples, issues de l’ensemble sémantique de la décoration sculptée et peinte.
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Renaissance in art, thus the art of the new age as a whole, begins with the use of linear perspective developed by Bruneleschi. Masaccio was the first painter to apply the technique successfully in his Holy Trinity fresco. This allowed Alberti in his 1435 treatise On Painting to define it with his system of „checkerboard floors”. Although different, both linear perspective techniques rely on one central and one lateral vanishing point. Martin Kemp and Joseph Polzer offer a plausible reconstruction of the strategy that Masaccio used to paint his Trinity fresco which provides insight into the painters familiarity with classical and medieval geometry. The objective of this work is to show how the painter managed successfully to create an illusion of space and depth on a flat wall in the church of Santa Maria Novella in Florence.
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With the constant presence of the Ottomans in medieval Bosnia from 1448. the process of social changes was continued. The roots of the social changes can be found from period of the first Ottomans incursion into Bosnian territory all the way to 17 century. Ottoman Empire with the different governmental structure (in relation to medieval Bosnia) establishing authority in Vrhbosna brought changes in medieval Bosnian society. These changes are reflected through different aspects. Bosnian nobility that first come under attack of Ottomans needed to pay tribute and accept ottoman authority or live own inheritance. In most cases those conditions accepted less powerful Bosnian nobility. More powerful Bosnian nobility Ottomans try to weaken by diplomacy and military tactics. Ottomans very skillfully finding moment to involve in mutual conflict of Bosnian nobility. When less powerful Bosnian nobility entered in Ottoman service they De Facto accepted ottoman sultan as ruler. They kept territory but they need to pay tribute to sultan, so this practice burden on the peasantry. On the some parts of Bosnian kingdom as for example in Tilava ottoman rule constantly risen. On the villages the Ottomans earlier feudal system to new timar system. The timar system over time influenced in changes of Bosnian feudal relations. Ottoman influence of changes in Bosnian kingdom also affected relations in religion. Due the diplomatic and military pressure of the Ottomans in Bosnia, Bosnian kings (Stjepan Tomas and Stjepan Tomasevic) tried to find material and military support from western European countries. To get support they had to get sympathy from Catholic Church in Rome. Therefore began the changes in religious structure in Bosnia, because the Bosnian king renounced teaching of Bosnian church and accepted teaching of official Roman Catholic Church. This religious conversion of Bosnian king supposed to be a good example to other members of Bosnian Church, but members of Bosnian Church not accepted conversion in massive numbers. So, the king attempt his intensions carry out with some repressive measures. With the Ottomans presence in medieval Bosnia the Bosnian population more often met Islamic faith. From the historical sources the Ottomans in this period did not require from serf to change their religion. Also Ottoman did not require from Bosnian nobility to change religion in order to keep earlier privileges. Because in period 1455-1463. the Ottomans did not had enough people from their own rank in Bosnian krajiste (Vilayet Hodidjed), they also gave important positions to Christians. As a result of Ottoman conquest of Bosnian kingdom in 1463 rural and urban population mostly suffered. The part of Bosnian population immigrated to safer territory while slightly smaller number were captured by Ottomans. All this directly affected changes in demographic structure of Bosnian population which can be seen by the historical sources (defters) from the later period. After Bosnia fell under the rule of Ottoman Empire in 1463, some Bosnian medieval nobility still tried to keep earlier status in Bosnian society. Therefore they maintained diplomatic relations with Catholic Church, Republic of Venice and Republic of Ragusa but they achievement had led to the personal interests.
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King Kazimierz Jagiellończyk and his wife Elizabeth founded a priest college in 1473. Its task was to spread the cult of Lord’s Passion. The college was attached to the Świętokrzyska Chapel at the Wawel Cathedral and his members were obliged to sing daily office of the Holy Cross, and to say a votive mass of the Holy Cross as well. The Chapter Archive of the Cathedral possesses the XVth century manuscript containing the Divine office prayer of the Holy Cross alone which then belonged to the college. In the text we quote the content of the office which was especially drew up for the college’s needs
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Stvarni identitet Crkve bosanske dovodili su u pitanje već njezini suvremeni protivnici, a od 19. st. nacionalno motivirana historiografija te je srednjovjekovne politički motivirane objede nekritički prihvaćala kao pouzdana povijesna svjedočanstva do te mjere da se o njoj sve do druge polovice 20. st. pisalo ne pod njezinim stvarnim imenom kojim se ona sama nazivala (Crkva bosanska!), nego pod imenom bogumila i patarena (Božidar Petranović, Franjo Rački etc.).
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François Villon was born in Paris in 1431 and died in 1463; he is recognized as one of the most important poets in French literature and the best known of the late Middle Ages. Villon became a student in arts, University of Paris. His two collections of poems, especially “Le Testament” and “Le Grand Testament” have traditionally been read as his autobiographical life. The verses of these two Testament are marked by the immediate prospect of death. The tone of tragic sincerity is very remarkable and stands in contrast to the poetry of his time. Villon was a great innovator of the themes of poetry and a great renovator of the forms. He represents the starting point of modern poetry in ballad form of the Middle Ages. “La Ballade des pendus” of Villon describing other forms of misery and death is the best-known poem. It is highly believed that Villon wrote it in prison while waiting his execution. The ballad was one of the principal forms for music and poetry in fourteenth and fifteenth-century France and Villon has been greatly admired by many poets a pioneer in the twentieth century.
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Crnogorska dinastija Crnojevići stupa na političku i istorijsku scenu u Crnoj Gori, upravo u vrijeme kada su Turci već čvrsto zauzeli svoje pozicije osvajanjima na Balkanu. Zapravo, veliki dio Zetske države Balšića i nekoliko gradova u Zeti već je bio u turskim rukama, uključujući i njihovu dotadašnju prijestonicu Skadar. Imajući u vidu da je Mletačka Republika već posjedovala većinu gradova na Crnogorskom primorju i u okolini Skadra, onda nije teško shvatiti u kakvom su položaju bili Crnojevići u nastojanju da se izbore za svoju zemlju i državu. Ovo tim prije što su i srpski despoti voljom njihove odive Jelene i njeneg sina Balše III predstavljali važan faktor i bili prepreka na tom putu, pozivajući se na odluku posljednjih zetskih gospodara da im predaju Zetsku državu na upravu.
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Brojni su talenti nezapaženo iščezli samo zato što su se u pogrešno vrijeme našli na pogrešnom mjestu, jer su pali na neplodno, kamenito tlo. Takva je umjetnost. Više od dara. Dar je samo prvi korak preko praga ulaznih vrata svijeta umjetnosti, tog fascinantnog svijeta koji zna biti prilično buran. Umjetnost je uvijek skupa, a umjetnici, čak i oni izvanredni, nerijetko završavaju bijedno. Razvijeni umjetnički jezik ne nailazi baš uvijek na razumijevanje. Nekada su potrebna stoljeća kako bi se shvatio jezik umjetnika, a nekada je dovoljno tek nekoliko godina kako bi lijepo i vrijedno iščezlo u zaborav.
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Kompleksnost odnosa između ugarske i bosanske krune u razdoblju njihova najintenzivnijeg sučeljavanja, ali i najtješnje suradnje (1387-1463), nalaže da se u formuliranju zaključnih razmatranja opredijelimo za modelski princip, jer se kroz njegovu prizmu najefikasnije mogu izbjeći zamke što ih u pravilu postavlja historiografski kampanilizam - fokusiranje na detalj s gubljenjem iz vida cjeline - koji je ostavio duboke ožiljke u izučavanju ove teme.
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Bu çalışma, Çerkes Memlûk Devleti’ni zayıflatmak için çeşitli yöntemler uygulayan Haçlı kuvvetleri karşısında ayakta kalan Çerkes Memlûk Devleti tarihinin önemli bir yönünü aydınlatmayı amaçlar. Kullanılan en bariz yöntem, Memlûkler üzerinde Haçlı ekonomik ambargosunun dayatılması olmuştur.
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Review of: Pavao Anđelić "Bobovac i Kraljeva Sutjeska. Stolna mjesta bosanskih vladara u XIV i XV stoljeću"; Sarajevo Publishing, Sarajevo, 2004, 329 p. by: Kristijan Montina
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Na zlatom i biserima urešenom bijelcu jaše Bizantinac u pozlaćenom ruhu. Mora da je blistava raskoš bizantskog poslanstva Talijanima izgledala kao iz nekog drugog svijeta. Ipak i oni su znali da su tada u njihov grad ujahali predstavnici svijeta na izdisaju, koji su stigli s očajničkom molbom za pomoć. Osim toga je blještavilo carske povorke uglavnom bilo blef: mnogi dragulji su bili od stakla, zlato je često bilo samo naneseno na drvenu podlogu, a boravak Bizantinaca u Firenzi financirali su Medici.
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Scrutinizing the work of an Italian humanist, the paper analyses the life of the first generation of Jaksic family, Stephen and Dmitar, in southern part of the Kingdom of Hungary. It focuses on the first eight books of the Fourth decade of Rerum Ungaricarum decades. The information on Jaksic brothers are direct, indirect and there are also numerous events they took part in that are not mentioned in Bonfini’s work. It is not possible to write about the conquest of Nadjmihalj (1474) without the aforementioned historical source, as it actually served as the main basis for all later researches. Dmitar is explicitly mentioned as a commander of flag-bearers in Mathias Corvinus’ war against the Polish (1473). The brothers also played an important role in the king’s war against Frederick the Third in Austria (1477). Although he writes about the rising of Benedict Veres in Transylvania in many details, Bonfini does not mention the Jaksic brothers directly. Howevever, other sources confirm their involvement in this matter, as well as the expansion of the manor of Nadjlak soon after the military intervention. After the war with Bohemia (1468-1471), Matthias Corvinus „donated due rewards to his numerous collaborators“, including Stephen and Dmitar. They played an important part in the conquest of Šabac (1475-1476), the war against Ali-beg in Banat (1476), the battle of Kenyermezo (1477) and at he river Una (1483), although Bonfini does not mention these details directly. The death of Dmitar Jaksic (1486) caused an unneglectable deterioration of the relations between the Kingdom of Hungary and the Ottomans, but Bonfini does not mention it either.
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U povijesti Bosne i Hercegovine bilo je nekoliko događaja koji su imali veliki utjecaj ne samo na njezine žitelje, nego i na okolne narode i države. Jedan od njih je pogubljenje posljednjega bosanskog kralja Stjepana Tomaševića i pad Bosne po Osmansku vlast 1463. godine. Iako se ova godina navodi kao pad Bosne pod Osmansku vlast, Osmanlije su puno ranije, skoro čitavo stoljeće, bili prisutni na ovim područjima. Prije dolaska Osmanlija Bosansko je kraljevstvo bilo u političkom, kulturnom i gospodarskom razvoju. To posebno vrijedi za vrijeme vladanja kralja Tvrtka I. (1353-1391). On je iskoristio krizu Ugarsko-Hrvatskog Kraljevstva i proširio svoje kraljevstvo. Bosna je tada imala najveći teritorij u svojoj povijesti i bila najmoćnija država na zapadu Balkana.
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Sloboda govora i mišljenja temom je i današnjeg suvremenog društva. Koliko god ona bila naglašavana i neosporavana, ipak se i danas u kojekakvim oblicima događa zabrana govora i javnih nastupa. Danas podijeljena mišljenja ne završavaju pobjedom i trijumfom jedne strane i osudom na lomači s druge strane, ali završava verbalnom osudom onoga koji “nije smio govoriti”. Osude za tvrdnje i javno mišljenje u prošlosti su bile puno brutalnije, ali su način i logika osuđivanja i danas gdjegod slični onom načinu i logici u dalekoj prošlosti.
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Postage stamp with a picture of the birth of Christ by Martin Schongauer (1440 – 1491) withthe presentation of the cave was the reason for research and other works of this painter. Thegraphics Christ on the Mount of Olives seems to be showing a stalagmite as remain of theunroofed cave.
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Marian COMAN, Putere și teritoriu. Ţara Românească medievală (secolele XIV-XVI) [Herrschaft und Territorium. Die mittelalterliche Walachei (14.-16. Jahrhundert)]. Iași: Polirom 2013 (Historia). 357 S., Abb., ISBN 978-973-46-3403-3, RON 27,95 The text reviews the book by Marian Coman on Power and territory in medieval Wallachia. Th e book shows that Wallachia before the late 16th century has not been organised on the basis of territoriality. The power of its rulers was rather based on a network of social links. Medieval Wallachia did not have clear-cut borders, but rather diffuse frontier-zones that were not closed than in the late 16th century. Th e author presents detailed research of the three frontier-zones of Wallachia: the frontier towards neighboring Moldavia, the Carpathian frontier bordering Transylvania, and the Danube, separating Wallachia from the Ottoman Empire, at least symbolically.
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