Naslov
Constrvi et erigi ivssit rex Collomannvs: The Royal Chapel of King Coloman in the Complex of St. Mary in Zadar

Autori
Marinković, Ana

Vrsta, podvrsta i kategorija rada
Ocjenski radovi, magistarski rad

Fakultet
Central European University

Mjesto
Budimpešta

Datum
05.07

Godina
2001

Stranica
54

Mentor
Laszlowsky, Jozsef ; Budak, Neven

Ključne riječi
Benedictine monastery; Romanesque art; royal chapel; western gallery; Arpads; Contarinian workshop

Sažetak
Construction of the architectural ensemble consisting of the chapter house and the bell tower in the precinct of the nunnery of St Mary in Zadar represents a turning point in the architectural practice of medieval Dalmatia, featuring for the first time elements of the High Romanesque style. The thesis focuses on the function of this architectural ensemble, related to the Hungarian king Coloman and his military campaign in Dalmatia in 1105. The form of a private chapel, that is, a hall joined by an axial bell tower with a gallery on the first floor, indicates an initial function for the private, in this case royal, liturgy. Such interpretation is supported by the architectural articulation and decorative programme of the western gallery, while the proposed reconstruction of the external access to the gallery indicates a user who was not a member of the monastic community. In addition, liturgical and iconographic aspects, together with political context of Coloman's architectural intervention provide more evidencefor such a use of the gallery. The iconography of the wall paintings in the gallery corresponds not only to the usual iconography of the western complexes, but also to the liturgy of laudes regiae through appearance of the same saintly figures. The 14th-century mention of the palace built by Coloman in Zadar, provides another indication of king's presence in the city. The interpretation of the complex as the royal chapel sheds light to the problem of circulation of decorative and architectural forms in the region, both the model for the chapel as well as its further influence. The form was determined by its function in terms of the symbolic importance it had for its contemporaries.On the basis of the styilistic similarity, but also the symbolic compatibility, the "Contarini" phase of the St Mark's in Venice is established as the model for the decoration of the Jadertine chapel. Diffusion of forms (cubic capitals, palmette frieze, cross- ribbed vaulting) from Zadar to Dalmatia as well as the continent under direct Hungarian jurisdiction, provides a more complex picture. Firstly, the immediate and continuous influence is visible in the churches of Zadar. Furthermore, the influence is discernible in the homogeneous group of churches on the territory subject to the Church of Zadar after 1154 (notably the island of Krk). Finally, spread of the forms of Coloman's chapel to another group of churches (Gora, Szekesfehervar, Kaštel Gomilica) is related to the direct political connotation used by Hungarian prelates and secular dignitaries. The importance of the city of Zadar and the monastery of St Mary which caused Coloman's intervention is explained by the role of Zadar as the capital of Dalmatia, whereas the monastery gained importance through its role in the church reform, but also through the traditional ties with the family of Madii, and with Croatian king Peter Krešimir IV. There are notable similarities in the kings' strategies of relating to the respective abbesses, used in order to strenghten the rule in Dalmatia. By relating to the monastery of St Mary, primarily by inserting the royal chapel in its precinct, Coloman consciously followed the "traditions" of the Croatian ruler, the strategy which is discernible in other aspects of his rule as well.

Izvorni jezik
Engleski

Znanstvena područja
Povijest, Povijest umjetnosti

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