hrvatski

U potrazi za Višeslavovom krstionicom

Krsni zdenac s imenom kneza Višeslava javnosti je postao poznat nakon što je 1852. otkriven u kapucinskom samostanu na otočiću Giudecca u Veneciji, odakle je iduće godine prenesen u venecijanski muzej Correr. Nekoliko godina kasnije podrijetlo toga zdenca temeljem podataka iz danas izgubljenog rukopisa nazvanog Anonim Filippi, a dodatno moguće i na osnovi određene usmene predaje, Zadranin G. Ferrari Cupilli pripisao je krstionici nekadašnje ninske katedrale sv. Asela. S vremenom je zdenac za Hrvate stekao gotovo kultno značenje i postao jedan od najprepoznatljivijih nacionalnih i vjerskih simbola, osobito nakon što je 1942. prenesen u Hrvatsku. Njime su se od otkrića pa do danas bavile plejade hrvatskih i europskih povjesničara, povjesničara umjetnosti, arheologa, povjesničara književnosti, teologa i znanstvenika drugih struka. Nažalost, u posljednje se vrijeme, uglavnom bez novih temeljnih istraživanja odnosno uglavnom neargumentirano, učestalo počelo dovoditi u pitanje vrlo vjerojatno ninsko podrijetlo toga krsnog zdenca, izbacivati ga iz korpusa hrvatske spomeničke baštine, a istodobno se počelo dovoditi u sumnju čak postojanje ninske krstionice u onom obliku i na mjestu gdje je spominju povijesni i literarni izvori. Sve je to bio povod za autorovo opsežno bavljenje tim spomenikom. Kako bi se posao mogao što kvalitetnije napraviti on se upustio u potragu za novim činjenicama i u tomu je značajnim dijelom uspio jer su se pojavili novi, javnosti nepoznati arheološki nalazi, povijesni dokumenti i činjenice. Temeljem svih rezultata dosadašnjih istraživanja, objavljenih radova, novopronađenih povijesnih izvora, neobjavljenih istraživanja ninske krstionice koje je proveo tadašnji Odsjek za arheologiju Filozofskog fakulteta u Zadru 2001. i drugih činjenica, u ovoj je knjizi donesena sinteza svega povezanog s tim spomenikom. Rezultati do kojih je autor došao umnogome mijenjaju ne samo dosadašnje spoznaje o krsnom zdencu s imenom kneza Višeslava, već i saznanja o nekadašnjoj ninskoj prvostolnici općenito. Kao prvo, treba istaknuti da je u arheološkim istraživanjima zaista pronađena krstionica ninske katedrale i to baš na onom mjestu te oblikom i izgledom potpuno onako kako je opisana u povijesnim izvorima, a osobito u literarnim napisima (Anonim Filippi i C. F. Bianchi) nastalim na temelju opisa izvornih očevidaca. Glede samog krsnog zdenca s imenom kneza Višeslava, autor navodi da on nije povezan s najranijim pokrštenjem Hrvata kako se to dosad uglavnom smatralo, nego s uspostavom ninske/hrvatske biskupije koja je započela za kneza Domagoja (864. – 876.), a dovršena za kneza Branimira (879. – 892.). Ključnu ulogu u tomu kao zajednički pouzdanik hrvatskih knezova i pape imao je svećenik Ivan (Iohannes presbiter), što je vidljivo iz pisama pape Ivana VIII. (872. – 882.) toj dvojici hrvatskih vladara. Ime svećenika Ivana uklesano je i na krsnom zdencu s imenom kneza Višeslava, u svojstvu njegova donatora. Iz svega toga očigledno je da bi trebala biti riječ o istoj osobi koja se javlja u pismima jer je jedna od radnji za uspostavu biskupije bilo i opremanje ninske katedrale. Nadalje, autor smatra da u kontekstu toga treba promatrati i kneza Višeslava koji bi temeljem svih tih okolnosti trebao biti jedan od Domagojevih sinova spomenutih kod mletačkog ljetopisca Ivana Đakona, a vladali su između Domagoja i Zdeslava (od 876. do 878.). Glede radioničkog podrijetla krsnog zdenca iznosi mišljenje da on nije izrađen na prostoru Venecije, nego na domaćem tlu, u krugu tzv. Benediktinske klesarske radionice iz vremena kneza Branimira, što potkrepljuje s više činjenica.///The baptismal font with the name of Duke Višeslav became known to the public after it was discovered in 1852 in the Capuchin monastery on the islet of Giudecca in Venice, from where it was transferred to the Venetian Museo Correr the following year. A few years later, G. Ferrari Cupilli from Zadar associated the provenance of that font with the baptistery of the former cathedral of St Anselm in Nin, based on the information from the presently lost manuscript known as Anonymus Filippi, and possibly on certain oral tradition. Over time, the font obtained almost cult significance for the Croats and became one of the most recognizable national and religious symbols, especially after it had been transferred to Croatia in 1942. From its discovery until today, a plethora of Croatian and European historians, art historians, archaeologists, literary historians, theologians and scholars in other fields have studied it. Unfortunately, the very likely provenance of that baptismal font from Nin has recently been questioned mostly without new fundamental research, that is, mostly without arguments, it has been removed from the collection of Croatian monument heritage, and at the same time, even the existence of the Nin baptistery in the form and at the place where it is mentioned in historical and literary sources has been called into question. Exactly these reasons incited author's extensive study of this monument. In order to perform this task in the best way possible, he started to search for new facts and had a great deal of success in that regard, as new, previously unknown archaeological finds have seen the light of day, as well as historical documents and facts. This book offers a synthesis of all information related to the monument based on comprehensive results of all previous research, published works, newly found historical sources, unpublished investigations of the Nin baptistery that were conducted by the Department of Archaeology of the Faculty of Philosophy in Zadar in the year 2001, and other facts. The results obtained by the author greatly change not only the previous insights about the baptismal font with the name of Duke Višeslav, but also the knowledge about the former cathedral in Nin in general. First of all, it should be emphasized that the baptistery of the cathedral in Nin was indeed found in the archaeological excavations, in the exact place and in the form and appearance precisely as it was described in historical sources, and especially in literary records (Anonymus Filippi and C.F. Bianchi) created on the basis of the original eyewitnesses’ descriptions. As for the baptismal font with the name of Duke Višeslav, the author states that it is not associated with the earliest conversion of the Croats to Christianity, as it has been generally considered until now, but with the establishment of the Nin/Croatian diocese, which began under Duke Domagoj (864-876), and was completed during the reign of Duke Branimir (879 – 892). The crucial role therein was played by the common confidant of Croatian dukes and popes, priest John (Iohannes presbiter), as evident from the letters of Pope John VIII to these two Croatian rulers. The name of priest John is also carved on the baptismal font with the name of Duke Višeslav, as its donor, indicating that it should be the same person appearing in the letters, because one of the preconditions for the formation of the diocese was furnishing of the Nin cathedral. Based on all these circumstances, Duke Višeslav should be observed in this context as one of Domagoj's sons, mentioned by the Venetian chronicler John the Deacon, and who ruled between Domagoj and Zdeslav (from 876 to 878). Regarding the workshop origin of the baptismal font, the author expressed the opinion, supported by several facts, that it was not made in the area of Venice, but in the local context, in the circle of the so-called Benedictine stonecarvers’ workshop from the time of Duke Branimir.

Nin, knez Višeslav, Višeslavova krstionica

nije evidentirano

engleski

In Search of Višeslav's Baptistery

Krsni zdenac s imenom kneza Višeslava javnosti je postao poznat nakon što je 1852. otkriven u kapucinskom samostanu na otočiću Giudecca u Veneciji, odakle je iduće godine prenesen u venecijanski muzej Correr. Nekoliko godina kasnije podrijetlo toga zdenca temeljem podataka iz danas izgubljenog rukopisa nazvanog Anonim Filippi, a dodatno moguće i na osnovi određene usmene predaje, Zadranin G. Ferrari Cupilli pripisao je krstionici nekadašnje ninske katedrale sv. Asela. S vremenom je zdenac za Hrvate stekao gotovo kultno značenje i postao jedan od najprepoznatljivijih nacionalnih i vjerskih simbola, osobito nakon što je 1942. prenesen u Hrvatsku. Njime su se od otkrića pa do danas bavile plejade hrvatskih i europskih povjesničara, povjesničara umjetnosti, arheologa, povjesničara književnosti, teologa i znanstvenika drugih struka. Nažalost, u posljednje se vrijeme, uglavnom bez novih temeljnih istraživanja odnosno uglavnom neargumentirano, učestalo počelo dovoditi u pitanje vrlo vjerojatno ninsko podrijetlo toga krsnog zdenca, izbacivati ga iz korpusa hrvatske spomeničke baštine, a istodobno se počelo dovoditi u sumnju čak postojanje ninske krstionice u onom obliku i na mjestu gdje je spominju povijesni i literarni izvori. Sve je to bio povod za autorovo opsežno bavljenje tim spomenikom. Kako bi se posao mogao što kvalitetnije napraviti on se upustio u potragu za novim činjenicama i u tomu je značajnim dijelom uspio jer su se pojavili novi, javnosti nepoznati arheološki nalazi, povijesni dokumenti i činjenice. Temeljem svih rezultata dosadašnjih istraživanja, objavljenih radova, novopronađenih povijesnih izvora, neobjavljenih istraživanja ninske krstionice koje je proveo tadašnji Odsjek za arheologiju Filozofskog fakulteta u Zadru 2001. i drugih činjenica, u ovoj je knjizi donesena sinteza svega povezanog s tim spomenikom. Rezultati do kojih je autor došao umnogome mijenjaju ne samo dosadašnje spoznaje o krsnom zdencu s imenom kneza Višeslava, već i saznanja o nekadašnjoj ninskoj prvostolnici općenito. Kao prvo, treba istaknuti da je u arheološkim istraživanjima zaista pronađena krstionica ninske katedrale i to baš na onom mjestu te oblikom i izgledom potpuno onako kako je opisana u povijesnim izvorima, a osobito u literarnim napisima (Anonim Filippi i C. F. Bianchi) nastalim na temelju opisa izvornih očevidaca. Glede samog krsnog zdenca s imenom kneza Višeslava, autor navodi da on nije povezan s najranijim pokrštenjem Hrvata kako se to dosad uglavnom smatralo, nego s uspostavom ninske/hrvatske biskupije koja je započela za kneza Domagoja (864. – 876.), a dovršena za kneza Branimira (879. – 892.). Ključnu ulogu u tomu kao zajednički pouzdanik hrvatskih knezova i pape imao je svećenik Ivan (Iohannes presbiter), što je vidljivo iz pisama pape Ivana VIII. (872. – 882.) toj dvojici hrvatskih vladara. Ime svećenika Ivana uklesano je i na krsnom zdencu s imenom kneza Višeslava, u svojstvu njegova donatora. Iz svega toga očigledno je da bi trebala biti riječ o istoj osobi koja se javlja u pismima jer je jedna od radnji za uspostavu biskupije bilo i opremanje ninske katedrale. Nadalje, autor smatra da u kontekstu toga treba promatrati i kneza Višeslava koji bi temeljem svih tih okolnosti trebao biti jedan od Domagojevih sinova spomenutih kod mletačkog ljetopisca Ivana Đakona, a vladali su između Domagoja i Zdeslava (od 876. do 878.). Glede radioničkog podrijetla krsnog zdenca iznosi mišljenje da on nije izrađen na prostoru Venecije, nego na domaćem tlu, u krugu tzv. Benediktinske klesarske radionice iz vremena kneza Branimira, što potkrepljuje s više činjenica.///The baptismal font with the name of Duke Višeslav became known to the public after it was discovered in 1852 in the Capuchin monastery on the islet of Giudecca in Venice, from where it was transferred to the Venetian Museo Correr the following year. A few years later, G. Ferrari Cupilli from Zadar associated the provenance of that font with the baptistery of the former cathedral of St Anselm in Nin, based on the information from the presently lost manuscript known as Anonymus Filippi, and possibly on certain oral tradition. Over time, the font obtained almost cult significance for the Croats and became one of the most recognizable national and religious symbols, especially after it had been transferred to Croatia in 1942. From its discovery until today, a plethora of Croatian and European historians, art historians, archaeologists, literary historians, theologians and scholars in other fields have studied it. Unfortunately, the very likely provenance of that baptismal font from Nin has recently been questioned mostly without new fundamental research, that is, mostly without arguments, it has been removed from the collection of Croatian monument heritage, and at the same time, even the existence of the Nin baptistery in the form and at the place where it is mentioned in historical and literary sources has been called into question. Exactly these reasons incited author's extensive study of this monument. In order to perform this task in the best way possible, he started to search for new facts and had a great deal of success in that regard, as new, previously unknown archaeological finds have seen the light of day, as well as historical documents and facts. This book offers a synthesis of all information related to the monument based on comprehensive results of all previous research, published works, newly found historical sources, unpublished investigations of the Nin baptistery that were conducted by the Department of Archaeology of the Faculty of Philosophy in Zadar in the year 2001, and other facts. The results obtained by the author greatly change not only the previous insights about the baptismal font with the name of Duke Višeslav, but also the knowledge about the former cathedral in Nin in general. First of all, it should be emphasized that the baptistery of the cathedral in Nin was indeed found in the archaeological excavations, in the exact place and in the form and appearance precisely as it was described in historical sources, and especially in literary records (Anonymus Filippi and C.F. Bianchi) created on the basis of the original eyewitnesses’ descriptions. As for the baptismal font with the name of Duke Višeslav, the author states that it is not associated with the earliest conversion of the Croats to Christianity, as it has been generally considered until now, but with the establishment of the Nin/Croatian diocese, which began under Duke Domagoj (864-876), and was completed during the reign of Duke Branimir (879 – 892). The crucial role therein was played by the common confidant of Croatian dukes and popes, priest John (Iohannes presbiter), as evident from the letters of Pope John VIII to these two Croatian rulers. The name of priest John is also carved on the baptismal font with the name of Duke Višeslav, as its donor, indicating that it should be the same person appearing in the letters, because one of the preconditions for the formation of the diocese was furnishing of the Nin cathedral. Based on all these circumstances, Duke Višeslav should be observed in this context as one of Domagoj's sons, mentioned by the Venetian chronicler John the Deacon, and who ruled between Domagoj and Zdeslav (from 876 to 878). Regarding the workshop origin of the baptismal font, the author expressed the opinion, supported by several facts, that it was not made in the area of Venice, but in the local context, in the circle of the so-called Benedictine stonecarvers’ workshop from the time of Duke Branimir.

Nin, Duke Višeslav, Višeslav's Baptistery

nije evidentirano