Naslov
Prilog poznavanja likovnih kulturnih veza Dubrovnika i Bugarske
(A Contribution to the Knowledge of Artistic and Cultural Ties between Dubrovnik and Bulgaria)

Autori
Lupis B, Vinicije

Vrsta, podvrsta i kategorija rada
Poglavlja u knjigama, znanstveni

Knjiga
Marino zbornik Papers in Honour of Professor Emilio Marin

Urednik/ci
Kevo, Marin ; Majnarić, Ivan ; Obrovac Lipar, Suzana

Izdavač
Hrvatsko katoličko sveučilište

Grad
Zagreb

Godina
2022

Raspon stranica
799-816

ISBN
978-953-8014-74-1

Ključne riječi
Surp Kevork, Plovdiv, Pascal Sebach, Mario Zhekov, Asen Nikola Pejkov, Benčo Obreškov

Sažetak
Povezanost Dubrovnika i Bugarske datira još od XIII. stoljeća i uz znane političke veze zrcali se i u boravku jednog bugarskog kovača, Georgiusa Bulgarusa, 1282. godine. Autor u svom radu obrađuje renesansnu sliku Gospe s Kristom iz armenske crkve sv. Kevorka u Plovdivu i datira je u početak XVI. stoljeća i vezuje uz dubrovački likovni krug. Ujedno, radi se o prvoj renesansnoj slici pronađenoj u Bugarskoj. Slika je bila dio većeg likovnog ansambla, to jest poliptiha, o čemu svjedoče ostatci otiska kapitela lukova, stupića i ulaganja u poliptih. Autor rada povezuje je uz djelatnost fra Marka Beneše, čiji se poliptih čuvao u bugarskom franjevačkom samostanu sv. Antuna Opata kraj Čiprovca. U armenskoj crkvi u Plovdivu čuva se i gotički enkolpion iz XV. stoljeća, blizak onovremenoj dubrovačkog produkciji. U Nacionalnoj galeriji u Sofiji čuvaju se djela hrvatskih slikara iz dubrovačke okolice: Vlaha Bukovca i Mate Celestina Medovića. Posebno je važan utjecaj Dubrovnika kao mjesta likovne inspiracije na bugarske slikare Benča Jordanova Obreškova i Marija Žekova, koji je i cijelu jednu godinu boravio u Dubrovniku. Slikar Žekov, najznačajniji bugarski marinist, naslikao je cijeli niz dubrovačkih pejzaža. Bugarski slikar iz Stare Zagore, školovan u Francuskoj, gotovo cijeli svoj život je proveo na putovanjima od francuske Rivijere, Bospora, Dalmacije i Crnog mora. Bugarski kipar Asen Nikola Pejkov 1940. u Rimu izrađuje brončanu plaketu sv. Vlaha, po narudžbi obitelji Mirošević – jugoslavenskog diplomata tada u Rimu. Jedan carigradski fotograf Pascal Sebah na poseban način povezao je Hrvate i Bugare, jer su se u njegovom carigradskom fotoateljeu portretirali brojni bugarski uglednici, ali i hrvatski brodovlasnici iz obitelji Kovačević iz Vignja na poluotoku Pelješcu. Među njima je bio i Georgi Benkovski (1843. – 1876.), vođa antiosmanskog Travanjskog ustanka 1876. u četvrtom revolucionarnom distriktu. Ova osebujna osoba živjela je u Carigradu, Smirni i Aleksandriji. Postavši članom bugarskog Središnjeg revolucionarnog komiteta 1875. aktivno se uključio u Travanjski ustanak, a poslije njegova sloma s 200 suboraca ustanovio je Leteäi odred (Hvarkovata četa). U Odredu je bilo šest Hrvata iz Dalmacije. Svakako, kulturne i umjetničke veze Dubrovnika i Bugarske možemo pratiti od XIII. do XX. stoljeća. One su bile u nekim stoljećima intenzivnije, ali iz stoljeća u stoljeće možemo pratiti njihov kontinutet i predstavljaju bitne sastavnice obaju nacionalnih identiteta.

Izvorni jezik
Hrvatski

Znanstvena područja
Povijest, Povijest umjetnosti

Napomena
A Contribution to the Knowledge of Artistic and
Cultural Ties
between Dubrovnik and Bulgaria
The links between Dubrovnik and Bulgaria date back
to the 13th century. In addition to well-known
political ties, these links are reflected in the
stay of Bulgarian blacksmith Georgius Bulgarus in
1282. In his
paper, the author describes the Renaissance
painting of “Madonna with Child” from St. Kevork
Armenian
church in Plovdiv, dates it to the early 16th
century and links it to the Dubrovnik painting
circle. This is at
the same time the first Renaissance painting
discovered in Bulgaria. It was part of a larger
visual art ensemble,
a polyptych, which is proven by remnants of the
imprint of capitals of arches, small columns and
insertion into the polyptych. The author connects
it to the work of Father Marko Beneša, whose
polyptych
was kept in the Bulgarian Franciscan monastery of
St. Anthony the Abbot near Chiprovtsi. The
Armenian
Church in Plovdiv also holds a 15th century Gothic
encolpion, which is akin to the Dubrovnik artistic
production
of the time. The National Gallery in Sofia houses
works by Croatian painters from the Dubrovnik
area:
Vlaho Bukovac and Mato Celestin Medović. The
influence of Dubrovnik as a venue of visual
inspiration is
especially significant in the works of Bulgarian
painters Bencho Yordanov Obreshkov and Mario
Zhekov,
who spent a whole year in Dubrovnik. Painter
Zhekov is the most important Bulgarian marine
artist who
painted a whole series of Dubrovnik landscapes.
The Bulgarian painter from Stara Zagora, educated
in
France, spent almost his entire life travelling on
the French Riviera, the Bosporus, Dalmatia and the
Black
Sea. Bulgarian sculptor Assen Nikola Peikov made a
copper plaque of St. Blaise in Rome in 1940,
commissioned
by the Mirošević family – a Yugoslav diplomat who
was in Rome at the time. Photographer Pascal
Sébah from Constantinople established a special
link between the Croats and the Bulgarians, since
many
Bulgarian dignitaries and Croatian shipowners from
the Kovačević family originating from Viganj on
Pelješac
peninsula were portrayed in his photo studio in
Constantinople. Among them was Georgi Benkovski
(1843 – 1876), a leader of the anti-Ottoman April
Uprising of 1876 – in the Fourth Revolutionary
District. He
was a peculiar personality who lived in
Constantinople, Izmir and Alexandria. Having
become a member
of the Bulgarian Revolutionary Central Committee
in 1875, he was active in the April Uprising.
After it was
quashed, he established The Flying Band
(Hvarkovata cheta) with 200 of his comrades-in-
arms. Six Croats
from Dalmatia were part of his Band. Cultural and
artistic ties between Dubrovnik and Bulgaria can
be
traced from the 13th to the 20th century. In some
centuries, they were more intense, but their
continuity can
be followed from century to century. They form an
essential component of both national identities.

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