WL YBomHa pa3sMaTparba Vietparknnatse epniexor Gapokror eamkaperna onpiijano ce vaMeby Kpajrroc- TH Koje cy onpebimane it unpe nome mpoyuanatba SapoKne KVsIType Mpanocaas- vor cnera, Eberonoxs paaMarparsy mpHicTynamit cy, ca jeune crpanie, HeTpaxknaun chopumpatmt Ha Tpamunj cpemucrcKoDHHX ctysnja, Oxn cy GapoKHO c:UKap- c7R0 carnemanannt Kao HacTanak MOCTRHBAHTHjcKe yMeTHOCTH, 6e3 NoKyutaja na onpene caMo6utrHoct one enoxe H HseHOr yMeTHIMKor creapaziaurrea. Ha 6asit onaKpint cxnaTaisa, 6apoKHo canKapeTso it MeROKYMtIa SapoKita YMcTHOCT TyMaye ce kao nia aapHo yetpojentinx Hopi, Cxpararsa © HenpoMeHmrnocrit enHKeperna npavocaapHor KysITYpHOr Kpyra sacTynIama je 1 TeoTOUIKa MHCaO, Koja je y MpEHL Tua HeTHMa1a TloMIToRaKe Hacncba. Cpricko Gapokito cammeaperao je, ca mpyre c1pane, TyMa4icHo nojMopiia M_ ‘kateroprjama o6paronanmim 3a moTpeée gamamHoerponexe yMeTHocTH, Ovo je carmemapao y cTHNcKaM oKDHpHMA enomynutje sanaanoenporicKor cmmapeTba, Koja je o 6apoKa, MpeKo PoKOKOa, BO- ina no Heoxnacimimda. YROmMIKO Cy sanlamHocsponcKn copMastHlt CTHNICKH este= MeHTHC Y Renna nlojemmn cmmkapa GH BME NPHCYTHH, YTOMHKO je UKE omye mo6uijao bumy ouexy, a reuma je onpebrmato sHauajije MecTo y paeieTiey Hauonanie yMerHocTH, Takei MpricrynoMm siekoHcTpyHicaHta je NOKETHDHCTEN- ka cilika craiHar Hanperka y AoceaarKy enpOMICKIEX y30pa, Y Kojoj cy HEKH ea1H- Kapit OHI HeoMpandano TOTUCHMAHH, a HeKH HazACTYKEHO XBAVKCHM. OxaKBO TyMavere 610 je peaysar MerononowKux mpempacyna, Koje cy npencrarsbame Gapnjepy 2a Moryhiiocr ja ce GapoKHo cimskapcTeo carnena Kao caMOcnojHa Uc sluHa ca redpuMMcanim cTuAcKHM HacKTUTeTOM. BuO je TO 4 OCHOBHH paaxor 3a usocTajatke Hanopa fa ce, Ha OcHORY MopcponoriKo-cheHOMEHONOIKHX KpHTepH- ya crina, oo HanpOjtt 19 onTHX OKBLIpA cpncKor cmkapeTwa XVITT woKa y na Ce OPEN HeTOBO Mecro Y PAIBITKY HALIOHATHe YMeTHOCTH, Kao H HeroB oalioc mpema exponiekoxt 6apoKy. Moryhniocr yrapbimarsa npeurmiix xpitepijyma Heonxonsux 3a TyMa- elke cpnickor GapoxHor emuKaperpa cnpesapauta je wuscHHTa Aa cy 0 Gapory SapoRHoM cmikapcrey Hy eporIeKoj HeTopujll yMeTHOCTH HoKasrmata pasmn- Ta, HecTO cympoTHa MuULBeIsA. TyNaHeIse GapoKhe yMeTHoerit Guo je criopHo nloceSHo y MpOTeCTAHTCKHIM 3eMsKAMA, Masa CY If HB KATOHMKO KYSITYPHOr KPY= Pa nporauiuta reoma pasta exparatta, Tek ce y MlocnemIsHM neuesijana He- kplicranvcana jactutja cmina Ha ocHony Koje je Moryhe npevicmmrarH ocuontte2 “YBOJLA PABMATPAIGA © nocTaske © GapoKy Kao HeTopijexoj H cTuncKoj Kareropyty, uTO je npeayenos 2a intrepnperatinjy Gaporue ymetHocrn nojeauux cpem- 4 cprickor camkapeTra XVII nora. Bapox kao citiuacka u ucitopujcka Kailieiopuja Y enponckoj ucropnj ywerHocTH necpurncarse Gapoxa je jou yseK AHCKY- ‘raGuimtio. O GapoKy cy HcKasaHa OnpeHa MHULeHA, a Y canpeMeHoj TeopHjit ce Y onpebersy osor nojsa youanajy tpi ocHopaa npucryna.! Mpa mpuctyn, sactio- BaH Ha ecTeTHMKOM TeaHBITy, TeskH a ce BPATH saGopanmeHOM H3EOPHOM 3Ha- very, Mpema Kojem rlojam GapoK osHavana ,He-CTHN”, OMHOCHO OACYCTRO jacHO aecpinuicanor criita, Ca onor craHonurTa OH ce TYM@uH NOTHYHO HeraTHBHHM Teprnnunta. Tako je Beneseto Kpoue, xojri je Gapox accbuuvicao Kereroprijansa pYkHor 1 HenlocTHMHOT, Y eny Storia dell'etit barocca in Halia HeTaKao NoMy.tap- Hy MaKcHMY a yMeTHoct Hitkaga Huje SapoK, a na Gapok HHKana Huje yMerHocT. Tipema apyrom, acbupmarveriom, ait HgeaIICTHNKOM H HeHeTOpHjcKoM, TYMa: Yciwy Bapok ce HsjenHavana ca POMANTIOMOM 1 HcTHYe Kao aTHKMACHUHCTINKH cherionen:, yirmepsanun KOHUENT THNA BHAHje, Koja ce Nojanmyje y paameucrist PpeneHIMa 1 Ha pavUNITHM MecTHMa.? Dun0s0deKH KOPCHH OBOT MpHtcrymia ro- MuAH Cy Ha HUMCORCKHN cxBaTAHSHMa AMOIOHCKOF HW AHOMUSH|CKOr y AMBOTY YMeTHOCTH Hy OcHOBH cy eTpaHH MCTOpIYjH YMeTHOCTH Kao HETOpHjckKoj ANCL naman. Tpema tpehent mpueryny, Koja naxac sactyna achrtia Teopetusapa, Ga- POK Tpeba necbuntHcaTH Kao HeTOpUjcKY cTHACKY entoxy Koja OGyxBaTa cTBaparta- mtso Expone 1 JTaruucke Amepuke o2 nocnemse neucnje XVI eka 20 kpaja XVIT pexa, a y Cpemsoj 1 Herouioj Eeponm 1 Kacuije, cne n0 nosHor XVIII 1 Ynop. cuirrerieke mpersee o neropait ry ageHsa Gaporwor crira: W. Stechow Definitions of Baroque in the Visual Arts, IAAC V-1 (1946-1947), 109-115: G. Briganti, Baro fi Arty: Encuclopedia of World rt It, New York-Toranto-London 1958, 263-267; E. D'Ors, Baroque, Paris 1968, 81-87; G, Cattai, Barogre et rococo, Paris 1973, 237-242. 2 Onakso Tymavetse, cynpotcranmeno ueropijexoM exaaTamy cri, Tomac Maxpo Hagtea ,anterpaxtiam” walt ,pexypertume”. Ynop.: T. Munro, Sivle in the Aris: A Method of Splistic Analysis, JAAC V-1 (1946-1947), 129.— O ,SapoxtioM panty” w ,pomalrra- HOM MettTamrety” y Gapoky: L. Giusso, Senso cauidlico-romantico del Barocco, y: Reiorica ¢ Barocco, 75-83. ~ L. O. Forkey, Baroque in the French Contemporary Theater, JAC XVIM-1 (1959), 80-89; P. Charpentras, De quelques acceptions du mot ,Baroque”, Critique XX (1964), 651-666, re ce yKasyje Ha MOryNHOCT Ja ce Moja Gapox Kao ecreTHuKa KaTeropuja MODE KOpHeTHTH ¥ TyMaveIBy caypemee yoeTHOCTH. 3a paDMLlubatwe Y OROM Tpasury”ymyTIH cy H pecbepar# xourpeca Bapoxxo » anaurapye. Vuiop.: Bapoxxo @ aeaniapde, Tesucu 4 marepua.ts, Mockua 1993, 4-6, 7-8, 24-26, 32-35, 44-46.RAPOK KAO CTHLICKA H HCTOPHLICKA RATETOPT®, 13 sexe, Y Tom je exscry Moryhe roropur o poby GapoKa Ho Gapoxy Kao cTHTy enoxe, Koji ce Henomawa He camo Y YMeTHOCTH, Horo Hy CBIIM BILIOBHMA 2K1180- Ta, BEPCKOM, NomeTHIKOM, Hat CouHjamiOM,” Y MoKymajuma 3a HaHATaKEHE 3a jemoens MMeHITema Beoma paaHonpenmx warmbectaunja yMeTHHMKor cTAa- palta onor ,HeToprijckor GapoKa” oGinmo ce HeTHYe Hona HTTepnpeTanja cBeTa 2acHOnaHa Ha HeKYcTBY, HospaTky npiipoan mt cydjcKTHBHoj cbopsnt Hapasa. Oxa- KO IINPOKO H yoRUITeHo ompcherse GapoKa Moxe ce pasyMCTH camo ocze alia- TUBE MetopHjcKe, AYXOBHe H PeMUEHOsHe NOIATHHe, NOK ce MpeUHaHHje Aecbersn- unfje, sacHonane Ha pehoj THTOAOUIKo} anetpaxunis, oSHHO Ompebyjy yHyTap HOKAMHNX OKEHpa O eramonorijn pou Gapok noctojn HeKoMHKo TeopHij; ova pe4 HMa MBOjHY neTOpHiy W.Wha pasnwuta HBEOpA, OM KOJHX ce jesfaH oAHOCM Ha cppaHMAycKO, @ apyrit Ha HramjancKo Tymaverse,! Mopexso ranjanexe pen abjacuno je Berte- zero Kpoue, pena meny, Tepsant ,barocco” ce chopmiipao y cpeatsenckonHoj euaoochnjnt n oanatanao je jenny o7 ¢purypa entornctiriKe normKe. Pe je moc- asia norystapria y XVI Bexy MocpencTnom xywaHcra, KOjH cy Gia ynyhenn y CXOMATINIHe CHcTeMe slOrHie, a KOpHETIUTA ce, Mpe eBera, ¥ MeTacpOPHMIKOM CMH cay. Osttatianana je cnako uckpymsancise Hieje H aaMpUeHH Mpouce MITULLEHA. Kacrnje je opr mojMom osHatiabant chopwammmt cbriosodbex cucrem codperi- vapa, a y XVITw XVIII nexy rime ce 1aanbao cpaxn cHicTeM MUMUDeHa KojHs Huje campoxao enemeHTe HerHMe. ¥ lomysapHHM TyMayersyMa Tora BpeMeHa pet je yommureno oaxayapana 26pky 14 oaeyereo Gro Kakvor ceTema’ [Ipesta apy- TOM, BHUe MpMxnaheniom, cxpaTaIy, ped NoTH4e 13 MopTyraqcKor M4 wnaHcKor jesna n ooauana Gucep HerparHnHor oBanKa. ¥ XVI pexy TepMun je npeyser y parnycxoj aa Grr osHaMno ,HeoGHMHO”, a y HeoknactmmaMy KacHor XVIII BeKa Ykyc Kojis je pentecanicrry jacohy npersopio y 6zapHe 1 HeiToHepeHe afinnKke. Kpajest Tora pexa nojaw ynaan y umpoxy yrorpeSy H, Bue HH Marbe MpeLIA- HO, TYMa4H ce KAO CYNpOTHOCT HeOKsACHUHCTHUKHM cxpaTaHima. Y To Bpeste, Maine ca MTamHjaHCKHM a BHINe ca qppaHUIyCKHM aHAHOHLCM, OM Y HeraTHBHOM eMHCTY nounse na ce MprMersyje H Ha yMeTHOCT. D, Cantimori, L’Etd barocea, y: Manierismo, Barocco, Rococd, 395-471; J, A. Maravall, Culnure of the Baroque, 3-15; P. Francastel, Limites chronoiogiques, limites geographiques et limi: ies sociales du Baroque, y: Retorica e Barocco, 55-60; HL. Rombach, ,,Die Well des Burock” Ver- such einer Sruknuranalse, y: Welt des Barack, 9-23. ‘Vnop. emmerauxe nperaeqe 0 Mctopyja eTmmororuje nojva Sapox: O. Kurz, Baro- ceo: storia di una parota, Lettere Italiane XII (1960), 414444; B. Migliorini, Eimologia e storia del termine , Barocco”, y: Manierismo, Barocco, Rococe, 39-49; G. Caltaui, Baroque e! rococo, 237-239. *B. Migliorini, Etimologia e storia del termine ,. Barocco”, 39-42.4 YDOSULA PABMATIAIDA Tloyva postarrisna mpoTi eTporix MpanHsta akaueMckOr HEOKMaACHLMaMa Haronectisia je H pesusnjy nrepnperaunije Sapoxas Paenpane o mprpoaM Gapo- ka sanovene cy mpno y dparmyekoj. Tako je Bonsep, xpo3 sexta dppanuryernx poMeHTHWapa, HTyHTHBHO cxBaTHHO PyGercono enikaperBo, al je npana pac- papa 0 TyMaversy mlojsia 3anovesia Tek y Mocmemsim kenennjama XIX eka M70 Y HOMa‘KOM KYsITYpHOM KPyTY. Bapox co kao KpHTHMKH Tlojam y HicTopiji yMerHocrH nojannyje cpemHoM XIX aexa, a Kopzete ra Jaxod Byprxapr 1 herorH caogGenmun. Y caupemenom EPHTITIKOM eMHicTy OH je TIpno GO MpNersiuar Ha APHTEKTYpY, TOK Ta je KAO nocbrmncalt cTHNICKH Tlojam Y cmuxapeTay H eKyUNTYpH OGpasiorKHo Xajapux Bendorvar y eaom sery 0 ocHOBHEM mrojMopiima y HoDHijoj yMeTHocTH’ Hojana Berpmmonor nea nonctarata je noveTar ox6imiAjer 1 cneoGyxBa- Tumjer TyMaycrsa Gapoxa. Hat jemia xasnra 13 HcTopHje yweTHOCTH Hie Habana ‘TomiKo KpuTHuke Trokrse y XX ReKy KAO OFO KamrrainHo nes0, Ma Koko aa je ona Grea npocneriTrencka y TpeHyTky oSjanaunaisa HY MOTOHEM neueHHjaMa, aac je owrnenHo ma cy MoryhHoct ynotpeGe Berchumonux Kareropyja # Hscrono TymaseHse Gapoxa 6umt orparicii.® Texeha ga norspult HeTopHiy YMeTHOcTH Kao Hay4HH MeToa, Beachmust je aedpmencao perecattcy H Sapox Kpo3 eT KaTeropiijammx nlonapirera: aTHcapHo W eMHRapCKO, NoBpUIMHa HC AyCHHA, aaTnoperta H oTsopeHa chopMa, MHourTBo H jeziHeTno, jacHoct H HejacHocr. OHI Hey GHNM HcTaxHYTH camo Kao ¢keMa, Hero 1 kao Mopcporornja axHBHX cpopyn Koja je TpeSao wa y MoTmyHOCTH secpHHMIlIe CHCTeM crHuTa trocrabsbeHt ¥ TPamH- nj Heoxcremsjanckux cuicreMa 3acHonaHMx Ha TezaNa H atTTezaMa, [pena BengytiobHM kateropiiama, Oapox je Gruto Moryhe oupesmTH camo npeKo peHe- cance HW oGpHyTo, YaerHoct XVI pexa oH carneqara Kao YerMHy, He Mpaschit pasmky wameby BHCOKe peNecalce H MaHUpraMa, TaKO ma Y CYLITHEM coojiM kaTeropniama nozemaai paxnuky waMehy ManupyaMa H GapoKa, a He waMeby pe- Hecance w 6apoka’ Sacryniajyhi Hugje © ayTOHOMHOCTH BHayanHe TpaRMUrje, “Homo, 429. "HL. Wolfflin, Kunstgeechichtliche Grundbegriffe: Das Problem der Stilentwickelung in der neueron Kunst, Monehen 1915. Yiop. npenon: Canoyni poimovt ior wmeinost, problem ra ‘ithe sila u istorii umetnosii, Sarajevo 1974, 21-24, 31. mane. "Ynop.: I L. Zipoic, The Ieonology af Soe (or Win Reconsidered), SAAC XIX-3 1961), 263-273, nloce6n10 372; B. H. Gombrich, Norm and Form: The Siylistic Categories of Art story and Their Origins in Renaissance Ideals, y: Norm and Form: Studies in the Art of the Renaissance, 1, London-New York 1966, 81-98. "Jacha paannka nameby ovcone peocatice, MaNPHOMA Gapoxa nocranzena je ynpaso y speme npsor nyGanxonar.a sTMHOSOr lesa. Vriop.: W. Friedlacnder, Marie~ rism and Anti-Mannerism in Italian Painting, New York 1976, XI-XIX, ca Mpenrosopom /Jo- vanga Tlocuepa.EAPOK KAO CTIUICKA Tt HUTORHJCKA KATEDOPIUIA 15 Bencpauu ce uicrepecyje cave 3a cbopsauuy atiarnay gemma, sancmapyiyhit sirxo- By chehoxcnonomny canpaumry.” Texehint na nevakne ctiuteKo jenmicTBo 6apo- ka, Bencpivmt raocTapaa bemixe YMeTHINAXe suMHOCTH GapokHor KracHInE Ma, unje ce eno Hije yknanano y cHeTeM werone yHABepsatHe HcTOpHicKe BHaHje, Oxcyctuo cacoSyxsaTHor carnenapatsa LeTOKyMHor GapoKHor yMcrHHUKOr ermapanaurrea YjemHo je a HajpaxkHiija saMepka HacameTuuxom cucTemy Bes shamoenx kareropuia, Kojy je moKywao za npesasnbe Bukrop Tamuje. ¥ cryawe Ju Baroque et Classicizme ow ynopebyje pumexy BapoKiy ymerHoct ca ymorHomhy CPpannyckor KnacHMHBMa, Kao ena HeTe enoxe, MebycobHO HX cytporcranmajy- fu 4 aajyhn npegnocr ecrereKHM Haeamma Kractnnama."' Y xpyry dbpanuycKHx ueTopi4apa Kyatype Tanujeona Tyma4era cy mpuxpahea ca onoOpanaiem, ma je nepuow nameby 1620. 1 1760. rome HaspaHt enoxon aacityHe a He GapoKHe Evpone.” ¥ upyrrim epenunama Tamujeona exparaisa cy yriapHiom noaupriyta KpHTiuMt 360r jemHocTpake anosiornje KNacHUHaMa, ANH je IerORO eno ATT ‘apajakt yrnuaj Kao cryauja Koja je noxpertyna nanyurrase Mura 0 GapoKy Kao enoxit ca jeammernerins cHnoM.* Bostbmmoso jemocrpazo Mopcbonourko onpebeme crima Haurpanno je Bepuep Baja6ax, Ox ce Hije sazozosno Benchmmonim chopmaniam oapeberem Gapoka 1 noxymiso je 2a ra uputhe nexke 3a onpebene KysTypHe oKBHpe. Ebero- ba cxBaTaHa cy Ce sacHiinana Ha MpeTHOcTaRuHt o MaparcsHOM Mpoulecy pasauTKa M Mcbyco6uint yruuajuMa zyxa H cbopme. TTonazehit ca onor craHonulirra, o# je Gapox nporyMaulio Kao yMeTHocT Koja pHayamMayje AVX KATOAMUKe mpoTuBpe- chopmaunje. Kateropuje npexo Kojix of nopcayje Gapox ca KouTpapechopmann- jos sacuimaze cy ce Ha nojMy XepojeKor, MHCTHTIOCTH, epoTHKe, ackeTHOMA 1 oxpytHoctu.'* Hixonac [enenep je yOp2o ony Teay nogmprao wanecizm Hentpas- Kama, Ox je ykasa0 Ha To ma ce ocobume koje je Baja6ax cmarpao Kapaxrepwerie- HuMa 3a Gapox nojanmyjy ech y calkapetay MaHuproma, Koje ce BpeMCHCKH no- Kuala ca pay MepHonoM KexTpapecpopmalyje. Merakao je, saTH™M, 4a je y me phoay KoHTpapecbopMauije HY-HO paaMAKOLATH gna cTHIla, MakUpH3aM H 6a- 0 'O npewaannarkcrsy Bembavnone jemocrpanocrn 2M. Ann Holly, Panofsky and Foundations of Art History, Cornell University Press 1984, ees. as "V. L, Tepié, Baroque et Classiciame, 11-30, rne je sev KpHTMuRi npukas TyNawersa onaengyoa H FSETOBOT OMEH0ca TIpeMa GapOKy. Ynop.: P. Chaunu, La civilisation de VEurope classique, Paris 1966. (mpezor: Hu- ouausaufa KAacwaie Espone, Beorpai 1977, roccbwo 397. # jane). “M. Greenhalgh, The Classica! Tradition in Art, London 1978, 149. ave, noceStio 154 158, nornasne Classicism and Baroque”. “YW, Weisbach, Der Barock als Kunst der Gegenreformation, Berlin 1921, noce61io 40 awe,16 ‘YROAIA PAOMATPABA pox. Mana je Te2a Kojy je waneo BajaGax y uonectoj Mep Kopnronania, Herouo eno je HMano ayrompajan 4 sHasajan YTHUsj Ha TyMaveke Gapoxa WHA MeNOKY nna Sapoxorowka HeTpaxkueatka, HNTAUKSUHje Ove ‘Tese, Malla ce TO HUje OTBO- peHo BekasHpurto, NoMBAjy Hy OcHORAMAa HeTpaxkHuarba Koje je Ext Mast o6ja- BMO Y neny o HKOMOrpadujH yaerHoetH nlocne TpsnertcKor xounsina.' Ton Yyrnuajem HeTHX expaTarba chopsupano je H KHHnMHroB BHbete nocT-TpHIeH- eke uKOHOrpadpuje y NorpanHMM oGnactuma Berrie a Xenananje.” Pacnpapa Kojy cy 3amouenit Hencuep % BajaGax Guna je mono te 3a Kae cunje vetpaxHBaye opor Mpobrema. OHH cy ykavamt Ha YEpeTe Bese KaTOAHKE pkse ca passitTKoM GapokHe YMCTHOCTH, anv cy NOTBPAWIN MHMNBoIe Za ce He Moxke POBOPHTH 0 jeMMCTBEHOM OapOKHOM CTHAY KOjH NOKpehe KaTouH4Ka pe- cbopaa.” OnGaunpary cxpaTara o 6apoky Kao HcTopujcKoj croxH ca jemmcTBe- HAM CTHAOM KojM ce cbopMpao y jemHOM ueHTpy, PHMy, a noTOM MpoulpHE tenon Exponon, nompuneno je W mpenasiutaketke palthje HomystapHe Tee 0 je3y- HTcKOM cTHAY, Koj je ORaj Ped Nponarnpao cuojom aemaTHouIhy. CuicresaTeKa HcTpaxkuparsa cy VEAsaNd Ha TO Ma jeayrTeKH pea Hje 2acTYMa0 jenMHcTReHO H Yearnamenfo TYMaucHe YMeTHOCTH HH Y NoreRy MopepoulorHje HA y MOrneAy nkoHorpacpuje. [puns ixone Bepexe mponaranuc Hanara cy npytarobe- Balbe OKOAHOCTHMA 1 NOWTOBaKE JIOKamINe TPAMUMUje, TAKO Aa ce jesyrreKH pe He Moxke HeTahn Kao KaHan KOM cy WMpeHe jeaHMeTRCHE cTIUICKe H HIejHe copmyaunje, kao ure ce 10 patmje mpetnocrassano.” [lox Pynep Maprun, PN. Pevsner, Gegenreformation und Manicrivmus, Repertorium ftir Kanstwissensohatt 46 (1925), 243-262; Hern, Beige aur Suilgeschichie des Fradi-und Hockbarock, Repertoriam fir Kanstwissenschatt 49 (1928), 225-246, — Viwop, enr-iccky Tpesom ca HOBAM ayTOpOaHM TIDE rosopom: Phe Counter-Reformation and Mannerism, y: Studies in Art, Architecture andl Design, 1 = From Mannerise to Romanicisns, London 1969, 11-33. "SE. Male, L'art religiewe aprés le Concile de Trente, imtrod, V-IX. “97. B. Knipping, /conography of the Counter Reformation, T, 1-3. — Ca nemamenicr ny B2)- s6aroacin KOIUEMTON Bete Gapoka M KOUTpaperpopMarHje. tMcaHe ey % NOsHiHje HKOMO- TpacheKe cumreae. Yilop: 8. Sebastiin, Contrareforma y baroca: Lecnuras iconogrijicas & ieo~ noldgicas, Madrid 1989, 13-15, IT oconawa onc Texe varpabewat cy W skouorpachcKin pa winx yMersitca. Vitop.: F. Zen), Piura e Consroviforma, Alle origini del? arte senza ‘orino 1957, Noce6u0 29H Stabe. "SG. Schreiber, Der Barock und das Tridentinum. Geistesgeschichiliche und kultische Zusan- menhiinge, y: Das Welikonzil von Trent. Sein Werden und Wirken, I, Freiburg i. B. 1951, 381— 425; U. Spirito, Barocco e Controriforma, V: Retorica e Barocco, 209-216; P. Prosi, Ricerca sulla teorica deite art figurative, 5-24. Ha norpe6y wa ce rojas ,xourpapecpopmartaje” same~ 2y Umpiat karoussa pespopaa vrauo je: Jen, Reyna Cason ¢ Conon, YR. wittkower, Problems of the Theme, yi Baroque Art, The Jesuit Conribution, 114, 3a mpyrasnje soamLere ynop.: P. Lavedan, Conireréforme, Baroque, Maniérisme, GBA LXXXIL (Fevner 1974), 97-115, be ce ayTop, Ha MpyMery apxHTeKType, saasKe 2a uocTOfaKe .je- BYPTCKOT CT#ha”, KOJM Ce Ho CEOjo} CCOBCHOCTH Hie Mo-Ke NeaHBATH 1H 3a MenTpH3aM, ITH ‘Tis 3a Gapox. ~ OaGujaie rex 0 Mocrojainy jeawHetuentor Gapoxor crmuta He sIaYH A Hernpaise werogor waueproT puMekor Mopesua. Yuop.: G. Cattaul, Barogue er racoca, 7-19.‘BAPOK KAO CTHUICKA H FICTOPINCKA KATEFOPIA. 17 JocieMHO ToMe, HeTICIe Za He nocTojH jedan GapoxHH cTILT Mga je UenOKyRHy Sapoxny yweTuoer HYANO carvionanaTH Kpos critteKy bHMeeTpyKocT. Hanaxyha cnoje cxbararse Gapoxa, ayrop onGnja H noKyniaj ompeherta jemuieTacHe GapoKHe uxonorpacbuje, sawxyhit co 3a CTAB Na ce KATCrOpHjanHH HMCHETeR, Koja GH oGjeamins mojam GapoKa, norpaxxe y 2ajemHnaKoM canp>xajy.” Teay 0 oueyeTay cTitnekor jearmerpa y Sapoxy sacrynajy 4 npyrw aytopn, neTHUyhi ma je azexpa- THHje 0 BapoKHoM cTHTY pacnpansarH y wuforKHEN BapoK ce Kao CTH MaHli= chectyje caojentro 4 panne, nana mopdonourcom supoy Hnje Moryhe neta hu sajemuaxe ¥ ommmTenascehe KaTeropijanne Merutrene, OHH ce MOry HBHahtr camo Ha cbeHomeHOOUIKOM HHinoy campacaja,”? Ha octony TymauetLa koja cy mazopno dopmynncatta 3a NorpeGe nevopuje YwerHoctn, rojas Gapoka je, BIE HLIt Matke, 6HO Yereumo MpHMeHHnay 1 Ha ocTana moma xyMaHIeTHYKOr cTaapasauntoa, rae NojesiIM aytopH sactynajy Te- 2y © GapoKy Kao HeropHickoj enoxn y Kojoj je HctoRpeMerio NocTOjasIO BinHe paaNMHTHK cTH109a." Hpenasmnaseh one mopdbomouke H cTHICKe paxaKe, H1¢- TopitiapH Kyarype Tparajy 3a sajoarmenam ocHoBaMa Kojc Gu nlonesane cKOHO- Nujy, NOSITHRY, peaMTHiy, yMeTHOCT Ms KibIDKeeHOCT Y jeaHY KOHMEMTTYANHy Ue- smny.* Osakno TyMatierbe GapoKa noTspaILNH cy cHMTeTEKH MpernicaH y KojuMta je UpHkesay paspirak GapoKHe YMeTHOCTH Y nOjeHHHIIM HAOHAMHHM KYITypaMa. One cTyanje npepasHnare aencpmisoncKo-bajs6axoucko TyMaYerse GapoKa kao je AMMicreeHor enponckor crit, Y sehvHH OBHX cIHTe9a ayropH HCTHYY pasaike Koje oy ce wentomiie y nojeMHus KysrTypiutte epegunana, Onn ecto Harnauta- hajy TeurKohe y aecumcarsy GapoKuor eTHIcKOr jemmcTsa H yayTap jemor Sapoxnor Kyirypror Moena. Pynond Burronep y mperaezy wramtujancKe 6apo- Ke YMeTUCCTH HeTHTEe OcHOBITY MONCRY Ha pan, BHCOKH N Kactn Gapox. Fone 3, Rupert Martin, The Baroque from she Point of View of the An Hisorian, AAC XIV (1955). Npeuzrasuiatco y: Readings in Art History, I~ The Renaissance to the Present, Ed. oy H. Spenser, New York 1969, 171-179. Tymavicwse onax eanpxaja, Koln objemmsY)y nolass Bape. xa, avion je Kacuuje onLMpinje obpaxtoxcuo: J, Rupert Martin, Baroque, Sivle and Civilion. fon, 19-38, “Yinop.: B.C. Heyl, Meanings of Baroque, IAAC XIX-3 (1961), 275-287, nocebHo 286. AW. Stechow, Definitions of Baroque in the Visual Arie, V13-115. New Heaven, Conn, 1972. 3a xpirusy paliijwx mokyuaja sa ee Gepotsia KiboKeRHOeT Ik pinmnane jelvuncrectanm eraser xateropajana ynop.: B. C. Heyl, Meanings of Baroque, 275-276. Kpuzika ce osuiocn aa cryrujy: K. Wellek, The Concept of Barosue in Literary Soho: lership, TNACV (1946), 77-109. “YA, Maravall, Culture of the Baroque, 3-15; A. Buker, The Baroque $-T-O-R-M:A Study in the Limits of the Culure-epock Theory, JAAC XXII (1964), 303-513, rae je S-T-O-M AKPOCTH H9BezIeH 0, ro}MORA NpoCToplIOCT, TeaTpaalHOCT, ODtaweHTamMTOCT, PHTMALEIOCT, SRUSOCT # MOHYMEITAJIHOCT, KO} ce METH KAO K:BYHNC KapaKTepucTante GapoKsle CHONe,18 ‘YBOJIIA PAIMATPAILA JY Wa nepHone OM cMaTpA HeONXONHIM OpraHHaaUHOHKM TepMimHMa, yomOD- JbeHHM HcTOPH|cKIM paanozwna, Harnauiakajyh aykHOCT yooTpeGe npenMsHH jis TepMitHa Kao LITO Cy npemAgaT cTHR, KacHOSapOKHH KnacMUHIaM, apKaHsepa- JyDH KaacHUFnaM, KPHITTO-pOMHTHUNGAM, HraHjaHEKM POKOKO HIT FaIACKtLHC- THUKH poKoKo,”* Tymaverse Gapoxa y YMCTHOCTH HeTOUHOeBpOTCKOr, cmOBeHCKOr mMpano- cnapna HMa AYTY 4 cnoxkeHY, HecTo npoTHEpeHHy enamyLMjy. Mowerkomt aRase- ceTHx rouna OBOT ReKa NocTano je aKTYCMHO MuTaHe — Jia MM pycky yMeTHOCT XVID 4 XVIIT sexa tpe6a eTanckxt TyMatnrT Kao Gapok HM He. TIppH oaronopH cy mpy:xcH y 3G0pHHKy patoka Bapoxko @ Poccus. M. B. Aanaton sameyyje aa CY 3amamHoenponcest OapoKHH eneMeHTH HOMCHHAM TeMaTHKy H chopManHe enemeHte pyckor cauxaperaa XVIL pexa, am ga je ono jour ynex nownBano Ha TPAaAMyHOHATHHM ocHOsaMa.* Cous0 MHULLCHLC HIHeME cy H apyrH aytopn. D. B. 2Kuakon je, ykasajyfit Ha sHavaj Tnexaropore BuGauje, woteo cxpararse a pycko cmkapervo Bch oa apyre riononnne XVI veKa neKsayje caojy nprna- mhocr Gapoky, an saxuyayje 1a cy TH yTuaja Guns popMamut H ma cy npr FoBenit cxbaTaHWIMa TpanHUMOMAMHOr nukTopannor jes, Y Tom carey oHO npeacraea camocnojHy mpenarny cbary mpema Gapoknoj ywetHoctit.” Tpchi ayrop, A. H. [pes vcrakao je npodsato crbapanaurrpo XVIII nexa kao npanit TpHMep Sapoke yMeTHocTH y Pychjx, waHocetin muuubeHe ma coo SapoKHOM. CAMKApeTBY MO:K¢ TOROPHTH Tek OF RPOMCHA sROpeKE yMeTHOeTH Tema Benue Kor Osaj 360pHuK pazoga je TOKON apemime AeLIEHTja Y>KHAAO RCHINKH ayTO- péTer, Ma cy cxparatka ayropa KojH cy VKaDHBaME Ha MoryhHocT Aa ce H paHnje couikapeTRo TyMa4it Kao GapoKHa yMeTHOCT enairpana NpeTeparnnea 1 GrmBata cy HrHopucana. Koavésupa npumena niojaa Sapox a pyony 1 yepajinecy yMernocr XVIL a XVII nexa ocrana je akryenHa H y HajHOnHjHM TyMaNeHHMa, a Tlojeuens ayropH, 3. Wittkower, Art anud Architecture in Italy 1600-1750, Harmondsworth, Middlesex 1973, 32,0 uezprsoinay mnacijancror Sapoxce A Wivkower If Barceo ital, y: Marien, Barceco, Rococo, 319-327. ~ Crwave opraxnaallvoxe TepNitde YRONIE H ABVT ayTOpH, rsesryjyhit Necro Here T9]MORE PARIMUATEN TepMHIKMA, MITO We

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